# Dramatic Arts Grade 12 NSC November 2018 Memo (English) > Grade 12 Dramatic Arts memorandum from the NSC November Exam 2018 (English), 41 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/dramatic-arts-nov-2018-memo-eng-amended-final-docx/89347ae3-9968-43ba-b954-a6fb451e341f - Updated: 2026-09-27 - Subject: Dramatic Arts - Grade: Grade 12 - Document type: Memorandum - Year: 2018 - Exam period: NSC November Exam - Curriculum: CAPS - Pages: 41 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 2018 Memo (English)](https://www.hlayiso.com/library/dramatic-arts-nov-2018-memo-eng-amended-final-docx/89347ae3-9968-43ba-b954-a6fb451e341f) ## About this document Dramatic Arts · Grade 12 · NSC November Exam · 2018. Memorandum, 41 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 DRAMATIC ARTS NOVEMBER 2018 MARKING GUIDELINES These marking guidelines consist of 38 pages, including 3 annexures. Copyright reserved Please turn over ### Page 2 Downloaded from hlayiso.com Dramatic Arts 2 DBE/November 2018 NSC – Marking Guidelines GENERAL NOTES FOR THE CHIEF MARKER AND MARKERS 1. The purpose of assessment/examination processes is not only to determine the 'remembering' of knowledge taught and learnt at each of the 6 cognitive levels of knowledge, but also to determine the complexity of the thinking process the candidate applies to the knowledge retrieved from memory. The tool to assess these two components is Anderson and Krathwohl's revised Blooms' Taxonomy. • 6 cognitive levels of difficulty • 4 thinking processes of complexity 2. The marking guideline discussion forum, before marking commences, cannot sufficiently predict all responses. Provincial markers need to take this into account, be open to candidates' responses and make sure that different teaching styles do not disadvantage the learner/candidate. 3. Spend the first day unpacking the quality and quantity of the evidence in the marking guidelines, standardise required responses and find common definitions and concepts. Assimilate the • Expected responses for each question • The cognitive level of difficulty required from the candidate • The type of thinking process and complexity of thinking required from the candidate • Action verbs used at each of the cognitive levels and the type of evidence required (facts, concepts, processes and thinking). • Refer to the annexures at the end of the marking guidelines 4. If the marking guidelines do not give clear guidance, a marker must indicate, with a short comment, why marks were awarded or not. 5. Tick clearly next to the required cognitive level/thinking process of complexity/ concept/content/skills/knowledge aspects required when a mark is awarded. Markers should engage actively with the answer. • Refer to rubrics in the annexure at the end of the marking guidelines 6. During the marking process, have regular rounds of consultation to ensure marking is standardised. 7. Where a candidate writes more than the suggested number of words, do not penalise (e.g. essay question). 8. Mark globally where possible. Markers accept any correct, relevant and well- motivated answers. 9. Markers must check that candidates' responses align with the Curriculum Assessment Policy Statement's Broad Topics and Topics, Content (concepts, skills and knowledge). Copyright reserved Please turn over ### Page 3 Downloaded from hlayiso.com Dramatic Arts 3 DBE/November 2018 NSC – Marking Guidelines STANDARDISATION OF MARKING ACROSS THE PROVINCES Rating of Essay and Response Questions The chief marker in each province must clarify the paradigm from which the questions and the accompanying marking guidelines were designed and set: 1. Content difficulty: How complex is the design of the question? Is the content being assessed at the correct level? 2. Task difficulty: What is the cognitive level and thinking process required from the candidate? 3. Stimulus difficulty: How difficult or easy is it to understand and apply the source? 4. Expected response difficulty: What is the quantity (how much) and quality (how well) of the expected response, required from the candidate, as provided in the marking guidelines? Does it align with the item, task and stimulus? Are the marks appropriately weighted and allocated? –Leong: 2002 In the training of markers at the beginning of the marking process, the chief marker in each province should adhere to the following procedure. This will assist with the standardisation of the scoring of candidate's essays and responses for each part of the examination. It will also standardise national marking procedures, processes and results. Introduction to the Task • Markers read the task required from the Item and summarise it. • Markers read the Item and plan a response to the task. • Markers share response plans and summarise expectations for student responses/share not just the quantity of evidence (how much) but the quality of evidence (How well). Introduction to the Rubric and Anchor Papers • Trainer reviews rubric with reference to the task. • Trainer reviews procedures for assigning holistic scores (i.e., by matching evidence from the response to the language of the rubric and by weighing all qualities equally). • Trainer leads review of each anchor paper and commentary. (NOTE: Anchor papers are ordered from high to low within each score level.) Practise Scoring Individually • Markers score a set of practice papers individually. Markers should score the papers independently. • Trainer records scores and leads discussion. (Practice papers should contain scores and commentaries.) Copyright reserved Please turn over ### Page 4 Downloaded from hlayiso.com Dramatic Arts 4 DBE/November 2018 NSC – Marking Guidelines INSTRUCTIONS AND INFORMATION 1. This question paper consists of FOUR sections: SECTION A: 20th Century Theatre Movements (30) SECTION B: South African Theatre: 1960–1994 (40) SECTION C: South African Theatre: Post-1994–Contemporary (40) SECTION D: The History of Theatre, Practical Concepts, Content and Skills (40) 2. SECTION A QUESTION 1 is COMPULSORY. Refer to the play text you have studied and the relevant 20th Century Theatre Movement. EPIC THEATRE • Caucasian Chalk Circle Bertolt Brecht • Kaukasiese Krytsirkel Translation of Bertolt Brecht play text • Mother Courage Bertolt Brecht • Moeder Courage Translation of Bertolt Brecht play text • The Good Person of Szechwan Bertolt Brecht • Kanna Hy Kô Hystoe Adam Small OR THEATRE OF THE ABSURD • Waiting for Godot Samuel Beckett • Afspraak met Godot Translation of Samuel Beckett play text • Bagasie André P Brink • The Bald Primadonna Eugene Ionesco • Die Kaalkop Primadonna Translation of Eugene Ionesco play text OR POSTMODERN THEATRE • Skrapnel Willem Anker • Top Girls Carol Churchill • Popcorn Ben Elton • Buried Child Sam Shepard 3. SECTION B This section consists of THREE questions. Answer only ONE question in this section. QUESTION 2: Woza Albert! Percy Mtwa, Mbongeni Ngema and Barney Simon OR QUESTION 3: Sophiatown Junction Avenue Theatre Company OR QUESTION 4: Siener in die Suburbs PG du Plessis 4. SECTION C This section consists of THREE questions. Answer only ONE question in this section. QUESTION 5: Nothing but the Truth John Kani OR QUESTION 6: Groundswell Ian Bruce OR QUESTION 7: Missing Reza de Wet 5. SECTION D This section consists of ONE question (QUESTION 8) which is COMPULSORY. Copyright reserved Please turn over ### Page 5 Downloaded from hlayiso.com Dramatic Arts 5 DBE/November 2018 NSC – Marking Guidelines SECTION A: 20th CENTURY THEATRE MOVEMENTS QUESTION 1 The following is a guide: The candidate must: • Answer this question in the 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 e.g.: How innovation is expressed in the play to reflect the philosophy and the Dramatic Movement • Demonstrate that 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 • The rubric on the next page is a guide to the marker to assess the following: o Levels of cognitive process dimension (remembering, understanding, applying, analysing, evaluating and creating) o Complexities of thinking displayed by the candidate (factual, conceptual, procedural, metacognitive) Copyright reserved Please turn over ### Page 6 Downloaded from hlayiso.com Dramatic Arts 6 DBE/November 2018 NSC – Marking Guidelines DESCRIPTOR MARKS THE CANDIDATE DEMONSTRATES THE FOLLOWING: Thinking process: Appraises factual, conceptual, procedural and meta-cognitive knowledge in relation to the question, source Outstanding and content. • Integrates the demands of the question and source in a new, creative and original manner. Metacognitive 27–30 • Evaluates examples, from the play text, the theatre movement and other additional sources within an expansive range of Knowledge 90–100 insightfully chosen theoretical, practical and aesthetic content. A+ Create • Designs and creates an argument in a new and unique pattern that shows evidence of reflexive (Candidates investigate their interactions through introspection as they happen), creative, critical and analytical thinking. Cognitive level: Demonstrates an ability to create, reorganise, discover, renew, change, improve. Thinking process: Appraises factual, conceptual, procedural and meta-cognitive knowledge in relation to the question, source Excellent and content and integrates the demands of the question and source in a differentiated, interpretative and interesting manner. 24–26 • Appraises/Assesses examples from the play text, the theatre movement and other additional sources within a significant Metacognitive 80–89 range of appropriately chosen theoretical, practical and aesthetic content. Knowledge A • Compiles an argument in an interesting pattern that shows evidence of reflective (Candidates think about their verbal, nonverbal, feelings, and thoughts after an activity), critical and analytical thinking. Evaluate Cognitive level: Demonstrates an ability to judge, critique, recommend, evaluate, propose. Thinking process: Analyses, distinguishes and explores factual, conceptual and procedural knowledge in relation to the Meritorious question, source and content. and integrates the demands of the question and source in a differentiated and interpretative 21–23 manner. Procedural 70–79 • Analyses/Dissects examples from the play text, the theatre movement and other additional sources within a broad range of Knowledge B appropriately chosen theoretical, practical and aesthetic content. • Compiles an argument that shows evidence of critical and analytical thinking. Analyse Cognitive level: Demonstrates an ability to infer, deconstruct concepts, interrelate, attribute, discover. Substantial Thinking process: Analyses and distinguishes factual, conceptual and procedural knowledge in relation to the question, source and content. Integrates the demands of the question and source in an organised, differentiated and interpretative manner. 18–20 Procedural • Integrates examples from the play text, the theatre movement and other additional sources within a wide range of 60–69 Knowledge appropriately chosen theoretical, practical and aesthetic content. C • Provides an argument that shows evidence of critical and analytical thinking. Apply Cognitive level: Demonstrates an ability to apply, construct, integrate. Adequate Thinking process: Explains, interprets and rephrases factual and conceptual knowledge in relation to the question, source, content and integrates the demands of the question and source in a conventional manner. Conceptual 15–17 • Interprets examples from the play text, the theatre movement and other additional sources within a general range of Knowledge 50–59 theoretical, practical and aesthetic content predictable. D • Provides an argument that points analytical thinking. Understand Cognitive level: Demonstrates an ability to interpret, infer, exemplify, classify, summarise, compare, explain. Moderate Thinking process: Explains and interprets factual and conceptual knowledge to the question, source and content. Integrates the demands of the question and source in a differentiated manner. 12–14 Conceptual • Explains examples from the play text, the theatre movement and other additional sources within a predictable range 40–49 Knowledge of theoretical, practical and aesthetic content. E • Writes an explanation within predictable/general thinking processes. Understand Cognitive level: Demonstrates an ability to interpret, infer, exemplify, classify, summarise, compare, explain. Elementary Thinking process: Defines and applies knowledge from memory. Integrates the demands in relation to the question and source in an uncomplicated/straight forward/fundamental level within a common manner. 10–11 • Selects examples from the play text, the theatre movement and other additional sources within a narrow range of Factual 30–39 Knowledge theoretical, practical and aesthetic content. F • Writes an explanation within predictable thinking processes. Remember Cognitive level: Demonstrates an elementary ability to problem solve, identify, list, relate, define. Not Achieved Thinking process: Remembers and applies knowledge from memory. Attempts to integrate the question and source but demonstrates a limited, to basic ability, to solve the demands of the question and quote. 1–9 Factual • Chooses examples from the play text, the theatre movement and other additional sources within a constricted, 20–29 Knowledge predictable range of theoretical, practical and aesthetic content. G • Writes an explanation within a basic range of thinking processes Remember Cognitive level: Demonstrates a limited ability to identify, list, relate, define. Thinking process: Demonstrates no understanding of the question or source, unable to write an essay, provides no Not Achieved examples from the play text or the theatre movement. OR Factual 0 • Presents facts, unrelated to the question. OR Knowledge H • Unable to identify, list, relate, define. OR Remember Cognitive level: Presents memorised information and content that does not answer the question. Copyright reserved Please turn over ### Page 7 Downloaded from hlayiso.com Dramatic Arts 7 DBE/November 2018 NSC – Marking Guidelines The following is general information on the movements. This information is not the answer to the question. Candidates must demonstrate they have integrated the source, play text, Dramatic Movement in their answer. GENERAL TO ALL THREE THE DRAMATIC MOVEMENTS WWI: Russian revolution, the great depression, the rise of dictatorship, capitalism WWII: Europe and the Pacific countries, Holocaust, new age, a post - war world view and cold war EPIC THEATRE Intention is to: • Distance the audience (emotionally) • Encourage the audience to see the world in which they lived more critically and clearly rather than take their beliefs for granted • Make a clear distinction between a Theatre of Illusion, ('Dramatic' Theatre) and Epic Theatre • Be opposed to the idea of pretence (a typical feature of Realism), but rather portrays the harshness of real life. • Keep spectators alert throughout the play • Remove the 'illusion' of Realism • Employ various techniques to alienate the audience – difference between what they saw on the stage and what was real Techniques • 'Verfremdungseffekt' or alienation distances the audience from the action on the stage • Music should provide a noteworthy commentary on the action e.g. in Mother Courage where the ironically bitter words of a song which speaks of the character's steady moral decline are deliberately arranged to a sweet, carefree tune. The incongruity between the tune and the words compels the audience to think about the true meaning of the song • Songs among the scenes tell the audience what was to happen before it occurred • Stage space is non-specific • Sets are simple and symbolic • Theatre should 'make strange' the actions that are presented • Historification – the playwright should highlight the 'pastness' of the events by separating them from the present Audience should: • Think that, if he or she had experienced the same conditions as those demonstrated in the play, he/she would have acted in a different way, because of the lessons learnt • Consider what he or she would have done to make a positive difference • Be inspired to make similar valuable social improvements with regard to the current state of affairs • Be encouraged to bring about social reforms in his community or environment THEATRE OF THE ABSURD The Absurdist world: • Appears to have no true order or meaning • Offers the audience an existentialist point of view of the outside world • Forces the audience to consider their meaning in the world • Has no definite, specific or recognisable existence • Proposes that human beings are what they make of themselves • Proposes that human beings are determined by their actions and choices Copyright reserved Please turn over ### Page 8 Downloaded from hlayiso.com Dramatic Arts 8 DBE/November 2018 NSC – Marking Guidelines • Has a pessimistic outlook of the human struggle • Mainly concerned itself with mankind's search for meaning Characters: • Are not fixed • Represent humanity who themselves are nothing • Exist in a bleak world devoid of meaning • Are lost, confused • Their actions are worthless and absurd • Are clown-like • Stay together as they are afraid to be alone in such an incomprehensible world • Lack identity – dull, uninteresting and lack dimension • Flawed • Are not well-rounded – no past. We are given little indication what the future might be • Remain static and show no development • Come across as being repulsive, pathetic, miserable and incapable • Are emotionally empty • Their qualities are exaggerated • Are used to express Absurdists' views on the human condition • Are mutually dependent • Are 'Social puppets' • Perform double acts Language and dialogue: • Shows that humans are not adept at communication • Acts as a barrier to communication • Isolates the individual even more • Shows that speech is almost futile • Questions the value of language • Lost its ability to communicate • Attempts at communication often 'disintegrate' from clichés to meaningless syllables • Inability of language to bridge the gap between the characters • Dehumanises and makes existence automatic and meaningless • Presents the unexpected, the bizarre and the absurd • Uses silence rather than the spoken word • Contains meaningless conversations • Are habitual and superficial • Are seen as an escape from the tedium of life • Create new words • Contain banal daily conversations mixed with literary language, puns, clichés, slang and repetitions are interspersed with poetic language • Displays a repetitious style of dialogue to emphasise the cyclic nature of life Themes explore and demonstrate the: • Temporality and evanescence (time) • Tragic difficulty of becoming aware of one's own self in the merciless process of renovation and destruction that occurs in life • Change of time • Difficulty of communication • Unending quest for reality Copyright reserved Please turn over ### Page 9 Downloaded from hlayiso.com Dramatic Arts 9 DBE/November 2018 NSC – Marking Guidelines • Tragic nature of relationships • Terror of man in the face of total meaninglessness • Anguish (Existential angst) • Isolation and loneliness of man lost in a world in which God has deserted him • Illusion that science and reason provide answers or meaning POSTMODERNISM The Postmodern world: • Rejects the certainties of the Modern Era • Contains no Grand Narrative or singular truth • Rejects the idea that there is a dominant set of beliefs or a neat solution • 'Destroys' the 'truth' • Embraces multiple viewpoints, perspectives, realities • Includes Art, Theatre, Architecture, Music, Film, Literature, Fashion, TV and other forms of expression • Borrows from a multiple array of styles • Rejects the notion of 'high art' and 'low art' • Embraces Avant Garde (forward thinking), experimental theatre • Does not prescribe to a 'purity' in art • 'Trashes' high art • Contains no fixed way of creating art • Moves towards a more subjective opinion • Holds that culture belongs to every person • Deconstructs (a way of taking set notions apart and putting them together again in a new, disrupted and disjointed manner) ideas, images and constructs • Contradicts ideas, images and constructs • Does not prescribe a meaning, point of view or perspective • Reflects and celebrates the madness and chaotic way of life in a Popular culture • Enjoys nonsense art, ideas, constructs and theories • Sees irony and humour • Emphasises HOW things are seen as opposed to WHAT is seen Pastiche: • Is a Visual Arts technique of different images, media forms etc. pasted together to create one piece • Uses references and layers, different texts and images • Uses Meta Theatre/Text • Reminds the viewer that they are in the theatre • Contains characters that can step out of character and communicate with the audience • Is the art work reflecting on itself • Is non-linear in construction • Is reflexive • Is peripheral even not essential • Contains theories or ideas • Is broken up • May overlap with many points of view and conflicting voices Copyright reserved Please turn over ### Page 10 Downloaded from hlayiso.com Dramatic Arts 10 DBE/November 2018 NSC – Marking Guidelines Performances are: • The main focus • The main process • Not captured in a script because they consist of images, sounds and multimedia Rehearsal processes are: • Improvised • Changed • Revised • Updated • Transformed through performance continually Audience is: • An important active element • Often included in the dialogue Play Texts: • Have no clear beginning, middle or end • Make the script just the starting point • Have unanswered questions Texts (visual, aural, the human body etc.): • Look at themes or theatrical devices • Leave the play open-ended • Embrace the idea that the audience makes their own meaning • Ask more questions than are answered • Contain visual images and non-spoken actions • Deconstruct a truth and do not accept only one reality • Use time, space and structure to echo the deconstructed or defragmented story or plot • Do not necessarily have real people • Contain characters and people who are merely a representation of fragmented ideas • Often start at a realistic point but unravel and the action becomes unreal as the play goes along TOTAL SECTION A: 30 Copyright reserved Please turn over ### Page 11 Downloaded from hlayiso.com Dramatic Arts 11 DBE/November 2018 NSC – Marking Guidelines SECTION B: SOUTH AFRICAN THEATRE: 1960–1994 The candidate must answer only ONE question in this section. QUESTION 2: WOZA ALBERT! BY PERCY MTWA, MBONGENI NGEMA AND BARNEY SIMON 2.1 Award full marks for: • One well-motivated statement OR • Two separate thoughts/ideas The following is a guide: • Albert Luthuli was one of the struggle heroes during the apartheid era and it is befitting to acknowledge him • The name Albert has many connotations such as Albert Street in Johannesburg where work permits were issued • The repetition of ‘Woza’ emphasises the new production and urges the audience to watch • It is a call on the previous production since ‘Woza” also means ‘rise up’ / ‘come here’ Markers accept other relevant and well-motivated answers. (2) 2.2 Award full marks for: • Three well-motivated statements OR • Six separate thoughts/ideas The following is a guide: The road show will: • Provide fun way of teaching and learning outside the classroom • Allow learners to engage on a more personal level because the issues are made relevant for them in their own performance • Encourage peer to peer teaching and learning to take place • Open up discussion amongst learners because they might be made aware of different interpretations and perspectives • Encourage learner participation • Help learners to remember the content and reflect on it • Encourage watching live performances because it is immediate and visual and will remain in the memories of the audiences who watch the page to stage transformation. • Help learners to understand how a roadshow works • Help learners understand the function and practices of poor theatre • Improve acting skills • Aid with a be a better understanding of the history of the apartheid era • Candidates may respond from the point of view of the performers or as the audience Markers accept other relevant and well-motivated answers. (6) Copyright reserved Please turn over ### Page 12 Downloaded from hlayiso.com Dramatic Arts 12 DBE/November 2018 NSC – Marking Guidelines 2.3 Markers accept other relevant and well-motivated answers. Award full marks for: • Two well-motivated statements OR • Four separate thoughts/ideas • Candidate may give reasons for or against the effectiveness of the poster The following is a guide: For: The poster: • Contains visual and verbal design aspects that provide relevant information for the production • Is relevant because it contains some of the themes found in the play • Is eye catching because it makes use of interesting colours, shapes and words/ideas which relate to the play • Gives the relevant information about the play and what is to be expected • Speaks directly to the relevant target audience e.g. Grade 12 students who are studying the play Against: The poster: • Contain design elements that did not serve the advertisement of the roadshow • Is not colourful, therefore does not attract the eye/attention • Consists of unnecessary information • It does not include all the relevant information (4) 2.4 Markers accept other relevant and well-motivated answers. Award full marks for: • Three well-motivated statements OR • Six separate thoughts/ideas • Up to four marks if there are no references or examples given from the play text The following is a guide: 'Dreaded Pass Law' and 'Dreaded Dompas': • Are both themes in the play which reveal the unfairness of the Apartheid system • Black people were not allowed to travel freely and had to carry a Pass Book at all times as seen in the first scene • The play highlights the theme of discrimination and injustice as the carrying of a dompas was an infringement on the freedoms and rights of Black people • Explanation of the apartheid policies and laws e.g. the dompass (6) Copyright reserved Please turn over ### Page 13 Downloaded from hlayiso.com Dramatic Arts 13 DBE/November 2018 NSC – Marking Guidelines 2.5 Markers accept other relevant and well-motivated answers. Award full marks for: • Two well-motivated statements OR • Four separate thoughts/ideas The following is a guide: Possible challenges might include: • Time constraints for rehearsals because learners would have other subject demands on their time, sport, transport issues, etc. • Economic constraints e.g. transport of set and props, sustenance and transport for cast and crew • Lack of commitment from cast members because not all learners might be dedicated to Drama or performance • Time away from school would be difficult as other subjects might suffer, examinations might be missed, etc. • Due to time schedules may not allow external groups to perform at the school • Some schools may react negatively to the content of the play (4) 2.6 Markers accept other relevant and well-motivated answers. Mark holistically. Award full marks for: • Four well-motivated statements OR • Eight separate thoughts/ideas Candidates should apply the following principles to their own production Set and Props: • Stripping away of all unnecessary theatrical elements e.g. costumes, lighting, sound effects, make-up, props, set • Set should be functional (to set the mood), rather than decorative • No scenery, in the traditional sense, only a few functional props • Eradication and stripping of the stage and its technical/theatrical elements Actor-audience relationship: • Eradication of all psychological blocks which prevent actors from offering themselves to their craft and the audience – Holy Actor • Spatial interplay of actors and audience • Any space can be adapted • Audience is involved and affected by the production (8) Copyright reserved Please turn over ### Page 14 Downloaded from hlayiso.com Dramatic Arts 14 DBE/November 2018 NSC – Marking Guidelines 2.7 Refer to the notes below and ANNEXURE A to inform your marking Markers accept other relevant and well-motivated answers. The following is a guide: The idea of Morena coming back to South Africa was central to the play because: • It was the original thought generated after singing religious songs in a bus on returning from a tour of Gibson Kente's King Kong, which sparked the idea of the question: 'What would happen if the Saviour, Jesus Christ, came back to an apartheid South Africa?' • The play's structure is shaped around the questions around Morena coming to South Africa, His arrival and subsequent death and resurrection • Characters relate to an invisible Morena throughout the play through their acknowledgement of His presence in their conversations • Morena symbolises the desired freedom from an apartheid South Africa as Morena represents the Saviour, Jesus Christ, freedom from oppression and all that Christ stands for • Morena unifies and mobilises the oppressed to action because the people feel that He has come to save them from oppression • Morena is an integral part of the play as a whole, its mood, messages and meaning because the whole play revolves around the question, 'What would you do if Morena came back to South Africa?' • A reference may be made to irony and hypocrisy (10) [40] Copyright reserved Please turn over ### Page 15 Downloaded from hlayiso.com Dramatic Arts 15 DBE/November 2018 NSC – Marking Guidelines QUESTION 3: SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY 3.1 Markers accept any relevant title with a suitable motivation. Award: • One mark for the title • One mark for the motivation (2) 3.2.1 Markers accept relevant answers that demonstrate an understanding of a scene taken from Sophiatown. Award full marks for: • Four separate thoughts/ideas The following is a guide: The arrival of Ruth in Sophiatown: • Surprises the inhabitants of Mamariti's house as the family was unaware of Jakes' plan • At first causes Lulu and Princess to be unwelcoming towards Ruth, because Ruth is a stranger to them in their home • Creates interest and attraction for Mingus and Jakes as she is of the opposite sex and she is a white girl from Yeoville • Introduces someone from 'the outside' to Sophiatown, from the northern suburbs of Johannesburg (4) 3.2.2 Markers accept other relevant and well-motivated answers. Mark holistically Award full marks for: • Two well-motivated statements OR • Four separate thoughts/ideas • The following is a guide: Ruth: • Could wear a floral dress, flat shoes, a necklace and a summer hat • Is from Yeoville and possibly exposed to the latest Johannesburg fashions Lulu: • Could wear her school uniform consisting of a tunic, white shirt, grey socks and black school shoes (4) 3.2.3 The candidate must show an understanding of how an actor should approach the truthful and realistic interpretation of the role. Mention could be made of Stanislavski's System/ Method. Other authentic, original acting methods and approaches to vocal, acting and characterisation techniques should be acknowledged. Award full marks for: • Three well-motivated statements OR • Six separate thoughts/ideas Markers accept other relevant and well-motivated answers. The candidate must mention the elements of the acting method/system they decided to discuss Copyright reserved Please turn over ### Page 16 Downloaded from hlayiso.com Dramatic Arts 16 DBE/November 2018 NSC – Marking Guidelines The following is a guide to the depth and breadth of the type of answer a candidates should give. The Stanislavski system/method is only an example. • Shifts in thought and feeling are reflected authentically through the actors' actions and reactions towards each other through the use of facial expression and gestures • The director should facilitate the actors' understanding of the thoughts and feelings which reflect the characters' relationship at this point in the play and elicit authentic responses from the actors, e.g. Mingus' reaction when Princess decides to pose for a Dutch photographer • The actors should live 'in the moment' and vocal and physical responses could therefore vary from performance to performance but will always be and true • Stanislavski's or any other theatre practitioner's method can be provided Before rehearsals: • The actor could read the script to understand how the character behaves, responds and fits into the action of the play Observation and research: • The actor could do a thorough analysis of the character in the play text • Understand the character's goals and motivations • Do thorough research and observation of the character type Physical score of actions: • Actions and reactions should be realistic to the character in the situation • Uses physical action (facial expression, gestures and movement) in a natural and believable manner in the creation of the play's life on stage Vocal expression: • As the play is realistic, the actor should create the illusion of a real conversation • Guide the actor to understand the thoughts and feelings which are reflected in the actor's vocal responses through tone, pace, rate, volume etc. Beat work: • Shifts in thought and feeling should be reflected effectively, realistically and believably. • Units and objectives should be reflected in the actor's physical and vocal expression Magic if: • The actor should play as if he/she is the character and vocal and physical responses could, therefore, vary from performance to performance. 'Acting is believing' Circles of attention: • Actor's focus should be on the world of the play and not on the audience Emotional memory: • Actor can use personal experiences and real emotions Warm-up exercises: • The actor should warm up his or her instrument to be able to deliver on the physical and vocal demands of the role • Vocal warm-ups, e.g. diaphragmatic intercostal breathing, resonance exercises ( humming) • Physical warm-up exercises could include spinal rolls for flexibility and posture (6) Copyright reserved Please turn over ### Page 17 Downloaded from hlayiso.com Dramatic Arts 17 DBE/November 2018 NSC – Marking Guidelines 3.3.1 Markers accept other relevant and well-motivated answers. Award full marks for: • Three well-motivated statements • Six separate thoughts/ideas The following is a guide: Universal relevance: • Sophiatown is as relevant today as it was then. The themes, issues and characters all represent humanity in its essential timelessness, e.g. prejudice and love relationships • Themes of discrimination, gangsterism, etc. are still prevalent today • The dynamic nature of the production still entertains and educates because it contains singing, dancing, narration, varied colourful characters • A living newspaper and historical documentary recording events for all time (6) 3.3.2 Markers accept other relevant and well-motivated answers. Award: • One mark for the means of advertising • One mark for the motivation The following is a guide: The road show could be advertised in the following ways through: • Social media, e.g. Facebook, Twitter, WhatsApp • Print media, e.g. newspapers, posters • Word of mouth • Local radio stations, interviews, talk shows, advertisements Motivation: • Using various media forms has the potential to reach more people • It is cost effective and thereby saves money (2) 3.4 Markers accept other relevant and well-motivated answers. Award: • Two marks for the selected items AND • Four marks for justification of items The following is a guide: The following theatrical items might be selected to reflect Sophiatown of the 1950s because they were popular at the time: • Contemporary music because it could be exciting and fun • Various indigenous dance styles which could educate and entertain • Chorus work which could add a dynamic and powerful vocal impact • A capella singing which could bring a truthful and sincere tone to the production • Jazz music which influenced the lifestyle of the place • American dance styles of the time e.g.: swing, jive which were enjoyed in dance halls at the time • The penny-whistle which was a popular and inexpensive musical instrument used at the time • Popular songs of the day, e.g. Pata Pata and songs by Miriam Makeba • Might include an item as a physical object e.g.: props or decor (6) Copyright reserved Please turn over ### Page 18 Downloaded from hlayiso.com Dramatic Arts 18 DBE/November 2018 NSC – Marking Guidelines 3.5 Refer to the notes below and ANNEXURE A to inform your marking. Candidates' answers must be well-motivated and show an understanding of the socio-political issues and the themes, and offer critical insight reflecting a personal evaluation. The following is a guide: Socio-political issues in an apartheid South Africa: • Inequality is depicted through the restriction of movement of black people • Residents of Sophiatown were not allowed to buy alcohol in Johannesburg because of strict Apartheid laws • Interracial relationships were not allowed e.g. Ruth and Jakes could not be in a relationship because of their different skin colours (Immorality Act) • People were allocated living spaces according to their race (Group Areas Act) because of Apartheid laws which segregated people along racial lines • High rate of unemployment led to the formation of gangs and an increase in crime in order to survive and provide for their families Themes: • Bantu education, as shown through the character of Lulu. It was an inferior system of education aimed at keeping the majority of the population oppressed and repressed • Forced removals: many residents of Sophiatown did not want to move to Meadowlands because they had every right to stay in their own homes They used placards and written slogans such as 'We Won't Move' to protest • Gangsterism: rival gangs would fight over the control of territories and girls in order to make money to survive and also to protect each other • Overcrowding was seen as normal in Sophiatown because many people were attracted to the place due to its vibrant lifestyle in which different cultures mixed freely, interchanging their creativity, musicality, ideas and cultures. • House owners rented out back rooms to as many people as their yards could accommodate to make money • Domestic violence as seen through the characters of Mingus and Princess. Mingus physically and verbally abused Princess because he felt entitled to do so since he was providing for her, which shows sexism and patriarchy Markers accept other relevant and well-motivated answers. (10) [40] QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS 4.1 Markers accept any relevant title with a suitable motivation. Award: • One mark for the title • One mark for the motivation (2) Copyright reserved Please turn over ### Page 19 Downloaded from hlayiso.com Dramatic Arts 19 DBE/November 2018 NSC – Marking Guidelines 4.2.1 Markers accept relevant answers that demonstrate an understanding of a scene taken from Siener in die Suburbs. Award full marks for: • Four separate thoughts/ideas The following is a guide: Jakes' assault of Tiemie: • Tiemie runs into the house followed by Jakes because he is angry with her for possibly being pregnant with another man's child • Ma becomes hysterical and pleads with Jakes to leave Tiemie alone • Giel decides to leave because he has won some money on the horses • Tjokkie commits suicide (4) 4.2.2 Markers accept other relevant and well-motivated answers. Mark holistically Award full marks for: • Two: for a well-described costume OR • Four: for separate thoughts/ideas The following is a guide: Jakes: • Could wear a sleeveless white vest, printed shirt, jeans and a leather jacket • Is rebellious in his nature and behaviour and this is portrayed in his costume Tiemie: • Could wear a short floral summer dress and flat shoes • Is quite fashionable and her costume will reflect that. (4) 4.2.3 The candidate must show an understanding of how an actor should approach the truthful and realistic interpretation of the role. Mention could be made of Stanislavski's System/ Method. Other authentic, original acting methods and approaches to vocal, acting and characterisation techniques should be acknowledged. Award full marks for: • Three well-motivated statements OR • Six separate thoughts/ideas Markers accept other relevant and well-motivated answers. The candidate must mention the elements of the system / method or other acting methods The following is a guide to the depth and breadth of the type of answer a candidates should give. The Stanislavski system /method is only an example. • Shifts in thought and feeling are reflected authentically through the actors' actions and reactions towards each other through the use of facial expression and gestures • The director should facilitate the actors' understanding of the thoughts and feelings which reflect the characters' relationship at this point in the play and elicit authentic responses from the actors, e.g. Mingus' reaction when Princess decides to pose for a Dutch photographer Copyright reserved Please turn over ### Page 20 Downloaded from hlayiso.com Dramatic Arts 20 DBE/November 2018 NSC – Marking Guidelines • The actors should live 'in the moment' and vocal and physical responses could therefore vary from performance to performance but will always be and true • Stanislavski's or any other theatre practitioner's method can be provided Before rehearsals: • The actor could read the script to understand how the character behaves, responds and fits into the action of the play Observation and research: • The actor could do a thorough analysis of the character in the play text • Understand the character's goals and motivations • Do thorough research and observation of the character type Physical score of actions: • Actions and reactions should be realistic to the character in the situation • Uses physical action (facial expression, gestures and movement) in a natural and believable manner in the creation of the play's life on stage Vocal expression: • As the play is realistic, the actor should create the illusion of a real conversation • Guide the actor to understand the thoughts and feelings which are reflected in the actor's vocal responses through tone, pace, rate, volume etc. Beat work: • Shifts in thought and feeling should be reflected effectively, realistically and believably. • Units and objectives should be reflected in the actor's physical and vocal expression Magic if: • The actor should play as if he/she is the character and vocal and physical responses could, therefore, vary from performance to performance. 'Acting is believing' Circles of attention: • Actor's focus should be on the world of the play and not on the audience Emotional memory: • Actor can use personal experiences and real emotions Warm-up exercises: • The actor should warm up his or her instrument to be able to deliver on the physical and vocal demands of the role • Vocal warm-ups, e.g. diaphragmatic intercostal breathing, resonance exercises ( humming) • Physical warm-up exercises could include spinal rolls for flexibility and posture (6) 4.3.1 Candidates may say it is not relevant now (‘or does it’ implies it may not be). Accept other relevant and well-motivated answers for example the setting, language and context of the characters may not be not familiar to everyone. Award full marks for: • Three well-motivated statements • Six separate thoughts/ideas Copyright reserved Please turn over ### Page 21 Downloaded from hlayiso.com Dramatic Arts 21 DBE/November 2018 NSC – Marking Guidelines The following is a guide: Universal relevance: • Siener in die Suburbs is as relevant today as it was then • Themes of poverty, freedom, abuse, etc. are still prevalent today • The realistic nature of the play (language, setting, characters, etc.) is relatable and relevant to all audiences (6) 4.3.2 Markers accept other relevant and well-motivated answers. Award: • One mark for the means of advertising • One mark for the motivation The following is a guide: The road show could be advertised in the following ways: • Social media, e.g. Facebook, Twitter, WhatsApp • Print media, e.g. newspapers, posters • Word of mouth • Local radio stations Motivation: • Potential to reach a vast number of people • Cost effectiveness (2) 4.4 Candidates must display an understanding of the possible theatrical impact of the motorbike in a production of the play. Award full marks for: • Three well-motivated statements OR • Six separate thoughts/ideas The following is a guide: The motorbike could create: • A dangerous atmosphere because the sound of the motorbike is loud and aggressive when Jakes rides it • An intimidating mood because it is displayed on the stage and represents Jakes' presence in the play. Jakes is seen as a bully • The model of the chosen motorbike could add to the characterisation of Jakes as he is a bully and intimidates people to get his way. He bullies Tjokkie to 'see'. He is defensive and will not hesitate to use violence to get his own way Markers accept other relevant and well-motivated answers. (6) 4.5 Refer to the notes below and ANNEXURE A to inform your marking. Candidates should display an understanding of how love resonates as a theme throughout the play. The following is a guide: • It is clear from Jakes' actions that he does not understand love when he assaults Tiemie and throws the bloodied altar-cloth to Ma and says, 'Daar is jou blêrrie love' Copyright reserved Please turn over ### Page 22 Downloaded from hlayiso.com Dramatic Arts 22 DBE/November 2018 NSC – Marking Guidelines • The message on the altar-cloth, 'God is Liefde', indicates that Ma tries to live by this example, unlike the other characters, even though they accuse her of being a bad role-model and a woman of low moral standards • Ma experiences personal tragedy because she is tries to find God's love in her search for a patriarch for her family • The relationship between Giel and Ma reflects a love of convenience and superficiality because Giel leaves as soon as he wins on the horses • Tiemie and Jakes merely have a sexual relationship and do not love one another. However, Jakes says that he is a 'bok vir love' and claims that he cares for Tiemie • Fé loves Tjokkie, however Tjokkie says that his ability to 'see' is more important than a relationship with Fé • Ma loves her children. She will never let Tjokkie 'see' for her own benefit as she knows that the act of 'seeing' hurts him Markers accept other relevant and well-motivated answers. (10) [40] TOTAL SECTION B: 40 Copyright reserved Please turn over Text truncated here. 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