# Dramatic Arts Grade 12 NSC November 2012 Memo (English) > Grade 12 Dramatic Arts memorandum from the NSC November Exam 2012 (English), 24 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/dramatic-arts-nov-2012-memo-eng/d1c813ad-1640-49e6-a139-610a29216aac - Updated: 2026-09-27 - Subject: Dramatic Arts - Grade: Grade 12 - Document type: Memorandum - Year: 2012 - Exam period: NSC November Exam - Curriculum: CAPS - Pages: 24 Breadcrumbs: [Home](https://www.hlayiso.com/) › [Library](https://www.hlayiso.com/library) › [Grade 12](https://www.hlayiso.com/library/grade-12) › [Dramatic Arts](https://www.hlayiso.com/library/grade-12/dramatic-arts) › [Dramatic Arts Grade 12 NSC November 2012 Memo (English)](https://www.hlayiso.com/library/dramatic-arts-nov-2012-memo-eng/d1c813ad-1640-49e6-a139-610a29216aac) ## About this document Dramatic Arts · Grade 12 · NSC November Exam · 2012. Memorandum, 24 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 GRAAD 12 NATIONAL SENIOR CERTIFICATE GRADE 12 DRAMATIC ARTS NOVEMBER 2012 MEMORANDUM MARKS: 150 This memorandum consists of 24 pages. Copyright reserved Please turn over ### Page 2 Downloaded from hlayiso.com Dramatic Arts 2 DBE/November 2012 NSC – Memorandum GENERAL NOTES TO MARKERS 1. As a marker, make short comments why a point was marked up or down if the memorandum does not give a clear guideline and the marker has to use his/her own discretion. 2. Tick clearly to indicate the learning point which is being assessed. Markers should engage actively with the answer. 3. Chief markers to facilitate the rubric with markers. The level descriptors of each rubric must 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 memo discussion forum cannot sufficiently predict all responses. Provincial markers to 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 memorandum and standardise and find common definitions and concepts. 8. Markers must align Assessment Standards with the answers. Copyright reserved Please turn over ### Page 3 Downloaded from hlayiso.com Dramatic Arts 3 DBE/November 2012 NSC – Memorandum INSTRUCTIONS TO DRAMATIC ARTS MARKERS ON THE GRADE 12 QUESTION PAPER 1. The question paper is THREE hours long. 2. The TOTAL marks for the question paper is 150. 3. Reading time of FIFTEEN minutes has been allocated before the start of the question paper. This is necessary to provide candidates with the opportunity to make the required choices. 4. The question paper consists of THREE sections: SECTION A, SECTION B and SECTION C. 5. SECTION A counts 30 marks, SECTION B counts 60 marks and SECTION C counts 60 marks. 6. SECTION A consists of TWO questions focusing mainly on LO3, but LO2 is also tested directly and indirectly: • QUESTION 1: Epic Theatre (Caucasian Chalk Circle, Mother Courage or Kanna Hy Kô Hystoe) • QUESTION 2: Theatre of the Absurd (Waiting for Godot, The Bald Primadonna or Bagasie) Candidates must answer ONE of the two questions. 7. SECTION B consists of EIGHT questions focusing mainly on LO3 (but other LOs are also tested directly and indirectly) and specific plays from the South African theatre movement: • QUESTION 3 (Boesman and Lena) • QUESTION 4 (uNosilimela) • QUESTION 5 (Woza Albert!) • QUESTION 6 (Sophiatown) • QUESTION 7 (Nothing but the Truth) • QUESTION 8 (Groundswell) • QUESTION 9 (Siener in die Suburbs) • QUESTION 10 (Missing) Candidates must answer TWO of the eight questions. 8. SECTION C consists of THREE questions focusing mainly on LO1 and LO4. LO2 is also tested directly and indirectly. This section is COMPULSORY. The weighting of the LOs for the paper according to the SAG document is as follows: • LO1 – 20% (30 marks) • LO3 – 60% (90 marks) • LO4 – 20% (30 marks) Copyright reserved Please turn over ### Page 4 Downloaded from hlayiso.com Dramatic Arts 4 DBE/November 2012 NSC – Memorandum SECTION A: UNDERSTAND AND ANALYSE Candidates answered ONE question, either QUESTION 1: EPIC THEATRE or QUESTION 2: THEATRE OF THE ABSURD. QUESTION 1: EPIC THEATRE CANDIDATES ANSWERED THIS QUESTION IF THEY HAD STUDIED CAUCASIAN CHALK CIRCLE OR MOTHER COURAGE OR KANNA HY KÔ HYSTOE. Markers should allow for well motivated answers that display unconventional and creative approaches. CATEGORY MARK LEVEL DESCRIPTORS (EVIDENCE) Outstanding 26–30 • Well organised, comprehensive and coherent, polished achievement structure. • Supported by an exceptionally high level of competence to process information into original interpretation and thoughtful selection of facts. • Uses a selection of relevant dramatic references. • Insightful, fluent, observation and knowledge powerfully expressed. Candidate discusses a range of Epic techniques and covers the themes of the play that aim at getting the audience to think critically about the play. He/She is able to discuss how the unconventional techniques that are used in Epic Theatre support the statement by giving specific examples from the text that has been studied. Candidate discusses the themes of the play to support the statement, and his/her answer is sustained with relevant examples from the play. The candidate shows an exceptional understanding of Epic Theatre and the play that has been studied. Meritorious 22–25 • Well organised, detailed and coherent, polished structure. achievement • Supported by a high level of competence and careful selection of facts to process information. • Uses a selection of relevant dramatic references. • Shows insight, observation and knowledge well expressed. This candidate has a similar level of knowledge of Epic Theatre and the play that has been studied as the Outstanding candidate. The main difference is the ability to connect to the essay topic, to discuss the topic and to use language effectively. This candidate often overwrites by writing down correct but irrelevant information. Not as concise and sophisticated as the Outstanding candidate. Substantial 18–21 • Organised, detailed, some level of competence, some slight achievement flaws evident in structure. • Interesting reading, clear statements, convincing, simple direct language. • Supported by a selection of relevant dramatic references. • Shows good grasp of the theme/task. EITHER: Candidate attempts to discuss the epic techniques and Epic philosophy. He/She refers to some techniques of Epic Theatre, but is vague about how these techniques are presented in the play. The candidate shows a good understanding of Epic Theatre and the themes of the play that has been studied. OR: Excellent analysis of Epic Theatre and the play that has been studied, but in the essay connection to the topic is by chance rather than by discussion of the essay topic. Often a short and generalised discussion of Epic techniques and themes. Copyright reserved Please turn over ### Page 5 Downloaded from hlayiso.com Dramatic Arts 5 DBE/November 2012 NSC – Memorandum Adequate 14–17 • Structure not necessarily logical. achievement • Displays a basic understanding but tends towards mechanistic and stereotyped response at times. • Adequate selection of relevant ''dramatic'' references. • Adequate reading but feels memorised. Not always a high level of insight. Candidate is well prepared and can supply detail about epic techniques, epic themes in the play and the play that has been studied, but cannot apply it to the essay topic. Often the work looks like a repetition of notes that have been handed out in class and thus may seem fragmented. But the candidate has a solid knowledge of the content. Moderate 10–13 • Not always organised, not logically constructed. achievement • Limited selection of information, poor language skills might be a contributing factor. • Candidate lacks the ability to support his/her answer with suitable examples. • Often vague and generalised examples. • Little or no attempt to connect to the question. • Sometimes merely narrating the plot. Candidate has knowledge of Epic techniques and the themes of the play that has been studied, but is inclined to write down everything he/she knows about Epic Theatre without connecting to the essay topic. Information is generally correct, but may be presented in a confused manner. It is inclined to be EITHER continuous writing (no paragraphs) OR short sentences that explain certain aspects of the content. Knows the content of the play that has been studied. Elementary 6–9 • Rambling – no structure, limited vocabulary, little attempt to achievement present information in an acceptable manner, little effort made to present work in an acceptable manner. • Very little information, jumbled, not easy to follow, often irrelevant. • Candidate lacks the ability to support his/her answer with suitable examples. Candidate shows indication of knowledge of Epic techniques and some of the themes in the play that has been studied, but is inclined to write down short phrases about the characters and content of the play that has been studied or theory that has been learnt. Often incorrect information is also given (about another play/characters or another part of theatre history). The marker will have to search in the answer for correct information. Difficult to mark because at first glance it looks as if the whole answer is faulty. The candidate is inclined to write down the story of the plot or to supply short character sketches. Not achieved 0–5 • Incoherent, very little work, limited skills. Irrelevant. • Simple phrases or words written down that candidate has learnt but does not understand. Very vague and confused. The candidate's knowledge of epic techniques and the themes of the play is weak. Often incorrect information is given. Is inclined to write down a list of words, phrases and sentences in the order in which the candidate remembers it. Copyright reserved Please turn over ### Page 6 Downloaded from hlayiso.com Dramatic Arts 6 DBE/November 2012 NSC – Memorandum OR QUESTION 2: THEATRE OF THE ABSURD CANDIDATES ANSWERED THIS QUESTION IF THEY HAD STUDIED WAITING FOR GODOT OR THE BALD PRIMADONNA OR BAGASIE. CANDIDATES ANSWERED THIS QUESTION IF THEY HAD STUDIED WAITING FOR GODOT OR THE BALD PRIMADONNA OR BAGASIE. Markers should allow for well motivated answers that display unconventional and creative approaches. CATEGORY MARK LEVEL DESCRIPTORS (EVIDENCE) Outstanding 26 – 30 • Well organised, comprehensive and coherent, polished structure. achievement • Supported by an exceptionally high level of competence to process information into original interpretation and thoughtful selection of facts. • Uses a selection of relevant dramatic references. • Insightful, fluent, observation and knowledge powerfully expressed. Candidate discusses the Absurdist genre by relating it to the statement. Candidate provides an excellent account of the philosophy of Absurdism. When Absurdist characteristics/ techniques, structure and dialogue are discussed, he/she supports their answer with relevant and specific examples from the playtext. The candidate is able to discuss how the unconventional techniques that are used in Absurd Theatre support the statement by giving specific examples from the text. The candidate shows an exceptional understanding of Absurd Theatre and the play that has been studied. Meritorious 22 – 25 • Well organised, detailed and coherent, polished structure. achievement • Supported by a high level of competence and careful selection of facts to process information. • Uses a selection of relevant dramatic references. • Shows insight, observation and knowledge well expressed. This candidate has a similar level of knowledge of Absurd Theatre and the play that has been studied as the Outstanding candidate. The main difference is the ability to connect to the essay topic, to discuss the topic and to use language effectively. This candidate often overwrites by writing down correct but irrelevant information. Not as concise and sophisticated as the Outstanding candidate. Substantial 18 – 21 • Organised, detailed, some level of competence, some slight flaws achievement evident in structure. • Interesting reading, clear statements, convincing, simple direct language. • Supported by a selection of relevant dramatic references. • Shows good grasp of the theme/task EITHER: Candidate attempts to discuss Absurdist philosophy. He/she refers to some features of Absurd Theatre, but is vague about how these features are presented in the play. The candidate shows a good understanding of Absurd Theatre and the play that has been studied. OR: Excellent analysis of Absurd Theatre and the play that has been studied, but in the essay connection to the topic is by chance rather than by a discussion of the essay topic. Often a short and generalised discussion of Absurd features, structure and dialogue. Copyright reserved Please turn over ### Page 7 Downloaded from hlayiso.com Dramatic Arts 7 DBE/November 2012 NSC – Memorandum Adequate 14 – 17 • Structure not necessarily logical. achievement • Displays a basic understanding but tends towards mechanistic and stereotyped response at times. • Adequate selection of relevant "dramatic" references. • Adequate reading but feels memorised. Not always a high level of insight. Candidate is prepared well and can supply detail about Absurd Theatre and its techniques in the play that has been studied, but cannot apply it to the essay topic. Often the work looks like a repetition of notes that have been handed out in class and thus may seem fragmented. But the candidate has a solid knowledge of the content. Moderate 10 - 13 • Not always organised, not logically constructed. achievement • Limited selection of information, poor language skills might be a contributing factor. • Candidate lacks the ability to support his/her answer with suitable examples. • Often vague and generalised examples • Little or no attempt to connect to the question • Sometimes merely narrating the plot Candidate has knowledge of Absurd Theatre, its techniques and the structure and dialogue used in the play that has been studied, but is inclined to write down everything he/she knows about Absurdism without connecting to the essay topic. Information is generally correct, but may be presented in a confused manner. It is inclined to be EITHER continuous writing (no paragraphs) OR short sentences that explain certain aspects of the content. Knows the content of the play that has been studied. Elementary 06 – 09 • Rambling – no structure, limited vocabulary, little attempt to present achievement information in an acceptable manner, little effort • made to present work in an acceptable manner. • Very little information, jumbled, not easy to follow, often irrelevant. • Candidate lacks the ability to support his/her answer with suitable examples. Candidate shows indication of knowledge of Absurd Theatre and the play that has been studied, but is inclined to write down short phrases about the features of Absurdism and the structure and dialogue of the play that has been studied or theory that has been learnt. Often incorrect information is also given (about another play/characters or another part of theatre history). The marker will have to search in the answer for correct information. Difficult to mark because at first glance it looks as if the whole answer is faulty. The candidate is inclined to write down the story of the plot or to supply short character sketches. Not achieved 00 – 05 • Incoherent, very little work, limited skills, in need of support. • Irrelevant. • Simple phrases or words written down that candidate has learnt but does not understand. • Very vague and confused. The candidate’s knowledge of Absurd Theatre, its features and the structure and dialogue of the play is weak. Often incorrect information is given. Is inclined to write down a list of words, phrases and sentences in the order in which the candidate remembers it. [30] TOTAL SECTION A: 30 Copyright reserved Please turn over ### Page 8 Downloaded from hlayiso.com Dramatic Arts 8 DBE/November 2012 NSC – Memorandum SECTION B: UNDERSTAND AND ANALYSE QUESTION 3: BOESMAN AND LENA BY ATHOL FUGARD 3.1 Fugard has chosen English as his language of choice but has also used many Afrikaans words and phrases as this would reflect the realistic style of the play. It would represent the normal everyday conversations of the people living in the Swartkops whose lives the characters highlight. The colloquial language used also emphasises the lack of education, the poverty and the low status of the characters in the play. The play is also in English, because Fugard could reach a wider audience. The mixed language indicates the realistic context of the people in Swartkops, which is mixed race. Accept TWO points discussed in detail = 2 x 2 marks OR Four points briefly discussed = 4 x 1 (4) 3.2 3.2.1 The police view Lena as a homeless, drunk coloured person whom they do not take seriously at all. The attitude to women prevalent at that time was very sexist and not very sympathetic. Most of the policemen at the time were white and were not very sympathetic to the complaints by drunks or non whites. Lena would also not be able to make a clear statement about what happened and the police would therefore regard it as a drunken 'brawl' which they would pass off lightly. It would not be taken seriously as there was a tendency to view it as a 'domestic' issue to be sorted out by the people involved. They would find it funny. They would tend to focus more on what Boesman said, that she was 'his woman' and that he was sorting her out – 'net a bietjie warm gemaak.' Accept TWO points discussed in detail or four points briefly discussed. (4) 3.2.2 Boesman makes light of his beating of Lena saying that he just warmed her up and that it was not serious. He says that she is his woman implying that he could do with her as he liked almost as if she were his possession, a commodity to be used and that he had a right to hit her. He is unafraid of being reported to the police as he says that the policemen are aware that this is the way coloured people treated their wives or girlfriends or the way drunken people behaved and that it was accepted – 'they know how it is with our sort.' It is also obvious that Lena has reported Boesman before but no action has been taken against him so he acts with impunity. Boesman feels he can solve his problems with his fists and since Lena accepts his abuse as part of her life with Boesman, he does it over and over again. If the candidates include motivations and quotes from the play as a whole, markers should credit these as well; if motivated. (4) Accept TWO points discussed in detail or four points briefly discussed. 3.2.3 A subjective answer is required. 1 mark to be given for ‘yes’ it has changed or ‘no’ it has not changed and 3 marks for the reasons. Markers cannot accept when candidates give both ‘yes’ and ‘no’, but no suitable motivation for either. Yes. It has changed because there are now new laws and legislation in place protecting the rights of women. Domestic violence and abuse is seen as a serious offence and offenders can be sentenced to jail. Most policemen would be trained to treat this issue sensitively. We also have more female officers who would be more sympathetic and more sensitive in handling such issues. No. It has not changed. Police officers are still rude and insensitive. They do not view domestic violence as a serious issue because the crime rate is so high. Some officers still believe that the women deserve what they get and use the opportunity to humiliate women further. That is why most battered women remain silent. (4) 3.3 Lena does not leave Boesman because she is dependent on him for comfort, companionship and security. She has become accustomed to following him around – it has become a habit. He is all the family that she has and she has no other support structure. There is just nowhere else that she could go. Furthermore she does remember the happier times and good memories which still tie her to Boesman. They love each other in a strange, dysfunctional kind of way. She is not empowered enough to leave him. When Boesman beats Lena it gives him a sense of power and meaning. Lena stays with Boesman because she needs validation and belonging. (3) Copyright reserved Please turn over ### Page 9 Downloaded from hlayiso.com Dramatic Arts 9 DBE/November 2012 NSC – Memorandum 3.4 Since no real set is required any stage type can be used – proscenium arch, thrust stage, arena stage or flexible stage. The characters themselves are the setting and they carry their meagre possessions wherever they go. 1 mark can be awarded for the stage type and 2 for reasoning. (3) 3.5 Lena is definitely Boesman's victim. She is physically, verbally and emotionally abused by him. Physically – He beats her all the time for little things such as dropping the empties. Verbally – He insults her, demeans her and mocks her all the time. Emotionally – He taunts her, trying to confuse her especially when she tries to get her bearings right and find out where she has been. He deliberately confuses her by saying the wrong things. Boesman talks with his fists when he is angry or frustrated. Lena also has to put up with Boesman's uncaring, unfeeling attitude. He ignores her complaints especially when they are walking for long distances. He ignores her questions and does not reply. So it appears as if she is speaking to herself most of the time. Boesman is society's victim. As a man he feels emasculated because he cannot provide the basic necessities for his family. He was once a strong vibrant person but years of being pushed around and shoved, drives him to alcohol causing him to become a drifter. The system failed Boesman in that it refused to allow him to have the dignity of having a place that he could call home. As a result the years of being hounded and forced to move from place to place have taken their toll on his life and he has become an angry, bitter man who loathes himself for his lost dreams and ambitions. He takes out his frustrations on the only person closest to him, Lena. He cannot get back at the whitemen and their bulldozers because they are stronger. So he expesses his frustrations through his tongue and fists. Society has failed Boesman and Lena because society has made them outcasts in their own land. Markers to mark holistically. MARKS 3.5 LEVEL DESCRIPTOR 7–8 Very good Candidate is able to answer clearly and directly referring to abuse as a theme in the play. He/She discusses the relationship between the two characters and the reasons for Lena staying in the relationship. The candidate focuses on the use of physical, mental and emotional abuse of Lena by Boesman. Also discusses abuse of Boesman by the apartheid system and why he takes his frustrations out on Lena. 4–6 Average Candidate explains abuse at a basic level and connects to characters (e.g. Boesman abuses Lena but Lena prefers to stay with him). And that Boesman is a victim of the white man. 0–3 Weak Candidate tends to make generalised statements about the plot of the play with simple, vague reference to how Lena is a victim of Boesman and how Boesman is a victim of society. (8) [30] QUESTION 4: uNOSILIMELA BY CREDO MUTWA 4.1 • Fables, e.g. storyteller tells the fable of over 8 000 years old where Queen Kimamereva (daughter of King Turunda) rules over AmaKhawayiki people in the mythical land of AmaRiri. • Animal and the plant-world co-exists and/or lives the life of the human race, e.g. Queen Kimamereva rules over people and monsters that assume the characters of humans. • The myth of creation. • The myths add to the mystery of the supernatural and create the mood and atmosphere in the play. • They enhance the episodic structure of the play with the storyteller being the link between the episodes. (Accept other relevant answers. Award 1 mark for myth and 3 marks for the explanation.) (4) Copyright reserved Please turn over ### Page 10 Downloaded from hlayiso.com Dramatic Arts 10 DBE/November 2012 NSC – Memorandum 4.2 4.2.1 The storyteller 'fills in' the gaps in the play that the action doesn't show. The storyteller provides information and guidance to the audience. Because the storyteller is found in all the acting areas, even in performance spaces reserved for certain actors, he is able to provide information to the audience from a first-hand perspective. Each point is awarded ONE mark. (2) 4.2.2 Any suitable answer that shows insight can be accepted. Answers could include: • The storyteller should be dressed differently from the other characters with elaborate costume which is slightly oversized to give the illusion of being the 'Great One'. • Special effects could be 'affixed' under the garment of the character of God so that it emanates smog/light underneath, thus giving the illusion of the supernatural and mystery. (2) 4.2.3 Accept answers that are well substantiated. Candidates may choose any TWO attributes. The following is merely a guide. In order to present these lines effectively I would vary my volume. I will start off quite loudly in lines 1–2 just to gain the attention of the audience. I would lower the volume In lines 4–5 when talking about the king. Would become louder in last two lines when talking about the barren sangoma. My pace will be deliberate or slow to medium because I am telling a story and I want to draw the audience in. I will not rush the delivery of these lines because the meaning would be lost. (2 x 2) (4) 4.3 Any suitable answer that shows insight can be accepted. Award ONE mark for the prop and ONE mark for the motivation. Answers could include: • Masks: the storyteller may use different masks to assume the roles of different characters (including that of God). • Firewood, fire and/or 'smog machine': It can be lit within the Ithala/cave stage so that when the smoke comes out, it will give the illusion of the supernatural. • Royal staff for King Magadlemzini to carry: This will make the audience to easily identify his character as that of a King. (3 x 2) (6) 4.4 Other suitable answers can be accepted. The following are examples: 4.4.1 Award ONE mark for each reason. In indigenous African performances there are no clear distinctions between the actor and the audience. This kind of seating enables the actors and audience to mingle easily. It creates a close and intimate atmosphere between the actors and the audience. It draws the audience into the action of the play. (4) 4.4.2 Accept any ONE of the following answers: It improves the view and allows easy access to performance spaces. The audience is able to identify the characters easily. The cosy and intimate atmosphere created allows the audience to engage with the actors and the action. (2) 4.4.3 Accept any ONE of the following answers: Elaborate sets and the use of props are limited. This type of staging is not easy to transport from one venue to another. It may be expensive to take a set as big as this from one venue to the next. This type of staging demands a large performance space, thus limiting the areas the play may be taken to because many theatre houses do not have the luxury of space. Accept 4 points or 2 well substantiated points. (2) 4.4.4 Award TWO marks for the special effect and TWO marks for the reason it would be used. A wind-machine to churn excessive wind. This will give the illusion that the place is different than the normal 'earthly stage'. Copyright reserved Please turn over ### Page 11 Downloaded from hlayiso.com Dramatic Arts 11 DBE/November 2012 NSC – Memorandum A microphone that will give an echo feedback. This will give an illusion that the 'quivering' or authoritative voice that comes out of the cave is that of God. Smoke would create a mysterious and supernatural atmosphere. Sound effects (e.g. thunder before God's entrance) to show the power of God. (4) (2 x 2) [30] QUESTION 5: WOZA ALBERT! BY PERCY MTWA, MBONGENI NGEMA ANDBARNEY SIMON 5.1 A subjective but relevant answer required. Accept either a 'yes' or 'no' answer if well substantiated. (Marks should not be awarded for simply saying yes or no.) (4) 5.2 The play is fast paced as there are twenty six scenes and only two actors. As a result the actors have to make quick costume changes as well as involved in singing and dancing at the same time. The actors also create the sound effects themselves which adds to the play being very physical. The play requires the actors to be prisoners, labourers, workers seeking employment etc. which means that the actors have to move in and out of roles quickly because they represent a wide range of characters. There is no interval in the play so the actors would have to sustain the physical action throughout the performance. (2 x 2) (4) 5.3 It is a cheaper option because special/sound effects, costumes and props are costly to hire. With the actors creating their own sounds it adds to the vibrancy of the performance and is more entertaining for the audiences. It gives the actors the opportunity to showcase their skills and versatility. The actors would be well trained in Grotowski's Poor Theatre techniques and know how to use their voices and bodies to create the different sounds such as prison sirens, trains, barking dogs etc. They use their vocal resonators to create and change their voices. It is important to note that there are only two actors and twenty six scenes therefore having both actors create the sounds and change into different characters was an easier choice for the director. In addition employing more actors would increase the budget. The creative use of props and costumes help them to change from character to character. Symbolic costumes such as half a ping pong ball to show that the character is white, a shawl which could be used to represent a blanket, barber's cloth or the shawl of an old woman ensures the smooth and easy transition from one character to the other. Sound equipment, set and props are expensive to hire and difficult to transport. These aspects are easier to produce if actors used their bodies as instruments of performance. (Accept other well-substantiated answers.) Markers to use discretion. (6) 5.4 The technique of mime is used here. It is effective because the play is fast paced with only two actors. The use of too many props would hamper the flow from one scene to another. (3) 5.5 Protest Theatre aims to affect socio-political change. It deliberately set out to show the evils that existed and it demanded that a change be made. It also aims to educate the masses of black people, many of whom were illiterate and ignorant of the discrimination and oppression that they were exposed to. The play Woza Albert! is a good example of protest theatre because it highlights the evils prevalent in the society at the time as well as the need for change. It uses Poor Theatre techniques. Actors creating their own space. Markers to use discretion. (3) Copyright reserved Please turn over ### Page 12 Downloaded from hlayiso.com Dramatic Arts 12 DBE/November 2012 NSC – Memorandum 5.6 Use discretion when marking. The following is only a guide. Candidates may offer other themes. Award 5 marks per theme. Injustice/Discrimination/Oppression caused by the Pass Law system – All black people were subjected to the Pass Law system which was harsh. It stipulated that they had to carry their pass book with them wherever they went. The pass book was a document of labour control and any white employer or policeman could ask to see it. It had to be produced on demand. It stated the name of the bearer and the district where the bearer was allowed to work. The bearer had only six days in which to find a job, otherwise he had to try in another district. Unless a man was recruited to work on the mines, a pass lasted for only six months; the bearer had to then reapply for another one. The play highlights the fact that it took at least three weeks to get a pass which meant that at least twice a year the applicants had to go without work, consequently without food in an effort to get a pass to allow him to work. If a pass was not produced the person was arrested and detained without trial for a period of at least ninety days. Many black people were jailed for not been able to produce their pass on demand. It was an unjust system. (5) Another theme is exploitation and oppression of workers. In the brickyard scene for example, Percy and Mbongeni work hard and for long hours with little pay. They are treated badly by their employer, Baas Kom who threatens to fire them every time they disagree with him or complain about their working conditions. Their employer threatens them by saying that there are hundreds of people looking for jobs so they should be grateful for the job that they have. This put the employer in a position of power because he could choose to hire and fire at will. The employer does not afford them basic human/worker rights. Another issue highlighted is the irony of although they make thousands of bricks, they do not live in proper homes – they say that they live in sardine tins. (5) MARKS 5.6 LEVEL DESCRIPTOR 8–10 Very good Candidate is able to answer clearly and directly referring to examples from the text. Considers both themes equally and is able to provide a detailed answer. 6-7 Good Candidate is able to answer clearly and may refer to the text. May tend to make broad statements about discrimination and oppression etc. Candidate also focuses more on one theme than the other. 4–5 Average Candidate does not look specifically at two themes but themes in general. Connects at a basic level. Makes one or two valid statements regarding poverty or injustice etc. 0–3 Weak Candidate tends to make vague and generalised statements about the play rather than discuss the themes. [30] QUESTION 6: SOPHIATOWN BY JUNCTION AVENUE THEATER COMPANY 6.1 A: Mamariti B: Lulu C: Ruth (3) 6.2 Firstly it is a Friday night and the beginning of the week end. They are celebrating the article that was accepted. Ruth has brought some 'illegal' alcohol from Yeoville. It adds to the excitement as Black people were not allowed to buy or sell alcohol. This therefore is a special treat for them. They are all in a party mood and they can temporarily forget their stress and problems. (3) 6.3 Songs were used as a device to break the tension or add to the tension. In moments of joy the characters would break out into song and in sadness they would express their emotions through singing. This device was commonly used in township musicals since music was an important part of township life. The play is divided into many scenes and the songs are used as a linking device to link one scene to the next. It also kept the audience interested and gave the actors time to prepare for the next scene. (4) Copyright reserved Please turn over ### Page 13 Downloaded from hlayiso.com Dramatic Arts 13 DBE/November 2012 NSC – Memorandum 6.4 Ruth had responded to an advertisement in the Drum magazine. The advert was specific – 1 Jewish girl wanted to live in Sophiatown for study purposes. Ruth, being adventurous responded. This was to the surprise of those living in 65 Gerty Street. She was willing to take risks and move into a society that was completely different from her own. She was daring to take such a step without telling her parents. She must be admired for her courage and independence. (4) 6.5 A subjective answer is required and markers are to use discretion when marking. Accept candidates' responses where relevant and appropriate. The following is merely a suggestion: Later on in the same scene, the characters are either tipsy or drunk. As in Lulu's case when there is a violent knocking on the door. The characters think that it is the vice and liquor squad and they all scramble to hide. From being very happy and carefree they are scared and fearful. There is tension and anxiety as they receive the notice of removals. (5) 6.6 6.6.1 Accept one of the following: Workshop/Workshopped/Workshopping (1) 6.6.2 Markers are to use discretion as candidates, depending on their teaching, may describe the phases or stages. Award ONE mark for the phase and ONE mark for the description thereof. The phases/stages are: Observation – can be done through research, actors physically go out into the streets and observe people or have interviews with them. Improvisation – Actors would use material collected in the first phase to create or improvise scenes in the rehearsal space. Selection – Improvised pieces that worked are selected or chosen. Recording – The final stage of the process – transferring the action to text/video/recording. (2 x 3) (6) 6.6.3 It was a collaborative method of creating plays, it was therefore not the vision of one person but rather a group. Even people who were not literate could be involved in the process. A variety of skills, singing, acting, dancing, mime, acrobatics etc. were used. Topics chosen were relevant to the issues being experienced and reflected the realities of the people. (4) [30] QUESTION 7: NOTHING BUT THE TRUTH BY JOHN KANI 7.1 Markers need to use discretion when marking. The set represents Sipho and Thando's living room of their township home. It reflects their economic status as it is suitably furnished with a lounge suite, a coffee table and a side board with family photographs displayed on it. This is in keeping with the realistic genre of the play which would give the audience the illusion that they were looking through the fourth wall of the room. The costumes are accurate in reflecting the social position and personalities of the characters. Sipho is wearing a jacket and a tie which indicates his conservative style of dressing. It is appropriate for his job as a librarian. Thando is wearing a traditional outfit with her hat, in keeping with her personality and her tradition. Mandisa's costume is modern; she is wearing a long top and pants with a scarf around her neck. Thus we find that the set and costumes are adding to the illusion of reality. (Some candidates may state that Mandisa is the character with the hat because she is standing over Sipho in an aggressive manner, looking at an elder straight in the eye and Thando is the one who is sitting down respectfully next to her father.) (6) Copyright reserved Please turn over ### Page 14 Downloaded from hlayiso.com Dramatic Arts 14 DBE/November 2012 NSC – Memorandum 7.2 The urn is a source of conflict because it contains Themba's ashes. Sipho has been waiting for the body of his brother to arrive from London so that he could lay his brother to rest only to find that he has been already cremated. This is foreign to Sipho and not acceptable in his culture because it shows disrespect to the body of the person who has died and his family. All the expectations that Sipho had of seeing his brother for a final time has been dashed and the fact that he has been cremated causes further tension. It shocks Sipho that all the remains of his brother are in the urn and when he learns that some of the ashes are thrown away it adds to his distress. Mandisa's who has been raised according to the western culture has a nonchalant attitude towards cremation and this is a cause for concern to Sipho because she does not understand the gravity of the situation and the traditions of the family concerning death and (4) burial. 7.3 Markers are to award 3 marks for vocal and 3 marks for physical. Vocal – Rising inflection would be used in all four lines because there are a number of rhetorical questions. Showing his shock and disbelief. There could also be an increase in pitch and volume as he becomes agitated. The tone could be one of worry initially because he has remembered the funeral and this changes to shock when he realises that there is no body and finally accusing because he feels he was not told in advance about the cremation. Physical – His eyes would widen when he remembers the funeral, he may put his hand on his head. He could throw his hands up in the air when asking, 'what are we going to do'? He could frown and look accusingly at Mandisa when asking, 'What body'? He could point at Mandisa when asking, 'How could you do this to me? (Accept other well-motivated points.) (6) 7.4 Sipho is an old-fashioned man with strong traditional and cultural beliefs. He is set in his ways and follows traditions rigidly. He is the head of his home and expects his daughter to respect him and not go against what he says. In the extract given it is very clear that he has set ideas about death and burial which culturally are taken very seriously. Cremation is frowned upon and a strict mourning period must be followed if a close family member dies. Mandisa was born and brought up in London and is accustomed to a western style of living with very little influence from the African culture that her father, Themba, came from. This could be due to the fact that her mother was from the West Indies. The combination of cultures has resulted in Mandisa's very western way of thinking. She treats death in a very matter of fact way and later in the play she even suggests that she and Thando go out for the night although rightfully according to her father's culture she should be in a period of mourning. She challenges Sipho's authority and questions his decisions, something Thando will not do and is something that shocks Sipho. (Accept other well-motivated points, and mark holistically.) (6) 7.5 Nothing but the Truth is relevant today because it highlights a family situation portrays conflict in a household post apartheid. It is very topical and would affect any family in South Africa. The clash between culture and traditions and sibling rivalry are issues that confront people often especially in post apartheid South Africa. Cultural lines are tending to blur especially with the young and old and traditions and values are being forgotten. The play highlights the tension that can be caused by issues such as culture, traditions and sibling rivalry and provides some solutions to the problems raised. Characters –The characters in the play are fully rounded, well-developed characters with a strong historical background. They reflect the lives of normal everyday people. Audience members can identify easily with them and their joy, laughter, tears and pain. The play is relevant today because the characters reflect the clash between young and old, between traditional and modern. The conflict they experience is what is experienced by many people today. So the characters' lives give us insight into complex family relationships, conflict and how problems can be resolved amicably. Dialogue – The dialogue is everyday language and the realistic plot is driven through a series of conversations and arguments which reveal the ultimate truth of the situation, the characters and their points of view. It is simple and very conversational thus drawing the audiences in. They would be able to identify with the characters and their feelings and respond to the issues that are raised. Copyright reserved Please turn over Text truncated here. 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