Dramatic Arts Nov 2020 Eng hlayiso.com

Downloaded from hlayiso.com SENIOR CERTIFICATE/ NATIONAL SENIOR CERTIFICATE GRADE 12 DRMA.1 DRAMATIC ARTS NOVEMBER 2020 MARKS: 150 TIME: 3 hours This question paper consists of 17 pages. MORNING SESSION Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 2 DBE/November 2020 SC/NSC 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

Downloaded from hlayiso.com Dramatic Arts 3 DBE/November 2020 SC/NSC SECTION A: 20th CENTURY THEATRE MOVEMENTS This question is COMPULSORY. QUESTION 1 Refer to SOURCE A below and answer the question that follows. SOURCE A THE 20TH CENTURY THEATRE Theatre is often like a child that rebels. But it is a powerful art form that teaches lessons about life, society and emotion and, more importantly, yourself. Evaluate, in an essay, how the play text and the 20th Century Theatre Movement you have studied this year, 'rebel' (go against) and provide lessons about life's challenges and humanity's potential for change. Write the name of the play text and the 20 th Century Theatre Movement you studied at the beginning of your essay. Refer to the following in your essay:  How the deliberate choices of the playwright reflect rebellion  The lessons of life's challenges inherent in the subject matter of the play text  Specific examples to support your discussion TOTAL SECTION A: 30 Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 4 DBE/November 2020 SC/NSC SECTION B: SOUTH AFRICAN THEATRE: 1960–1994 Answer only ONE question in this section. QUESTION 2: WOZA ALBERT! BY PERCY MTWA, MBONGENI NGEMA AND BARNEY SIMON Study SOURCE B below and answer the questions that follow. SOURCE B As relevant A powerful Important today as it opening scene! messages A must-see! … was then production! Brilliantly A significant skilled actors Cohesive contribution to ensemble South African cast Theatre … Emotionally Reflects the lives of people at moving! the time … SOURCE B reflects recorded responses from audience members after a recent performance of Woza Albert!. 2.1 Give a definition of the following:  Set (1)  Props (1)  Ensemble (1)  A cast (1) 2.2 Analyse how the performance and staging might create 'a powerful opening scene' for Woza Albert!. (6) 2.3 Motivate why you think the play might be 'emotionally moving'. (4) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 5 DBE/November 2020 SC/NSC 2.4 Suggest why it is important to be a 'brilliantly skilled' actor. Give examples from the play to demonstrate the use of physical and vocal skills. (6) 2.5 Explain how the play 'reflects the lives of people at the time' by referring to the characters and their given circumstances. (8) 2.6 Write a short article for a Heritage Day Programme. Discuss the following statements in SOURCE B in your article:  'A significant contribution to South African Theatre'  'As relevant today as it was then' Support your discussion with examples from the play. (12) [40] Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 6 DBE/November 2020 SC/NSC QUESTION 3: SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY Study SOURCE C below and answer the questions that follow. SOURCE C As relevant A powerful Important today as it opening scene! messages A must-see! … was then production! Brilliantly A significant Cohesive skilled actors contribution to ensemble South African cast Theatre … Emotionally Reflects the lives of people at moving! the time … SOURCE C reflects recorded responses from audience members after a recent performance of Sophiatown. 3.1 Give a definition of the following:  Set (1)  Props (1)  Ensemble (1)  Cast (1) 3.2 Analyse how the performance and staging might create 'a powerful opening scene' for Sophiatown. (6) 3.3 Motivate why you think the play might be 'emotionally moving'. (4) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 7 DBE/November 2020 SC/NSC 3.4 Suggest why it is important to be a 'brilliantly skilled' actor. Give examples from the play to demonstrate the use of vocal and physical skills. (6) 3.5 Explain how the play 'reflects the lives of people at the time' by referring to the characters and their given circumstances. (8) 3.6 Write a short article for a Heritage Day Programme. Discuss the following statements in SOURCE C in your article:  'A significant contribution to South African Theatre'  'As relevant today as it was then' Support your discussion with examples from the play. (12) [40] Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 8 DBE/November 2020 SC/NSC QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS Study SOURCE D below and answer the questions that follow. SOURCE D As relevant A powerful Important today as it opening scene! messages A must-see! … was then production! Brilliantly A significant skilled actors Cohesive contribution to ensemble South African cast Theatre … Emotionally Reflects the lives of people at moving! the time … SOURCE D reflects recorded responses from audience members after a recent performance of Siener in die Suburbs. 4.1 Give a definition of the following:  Set (1)  Props (1)  Ensemble (1)  Cast (1) 4.2 Analyse how the performance and staging might create 'a powerful opening scene' for Siener in die Suburbs. (6) 4.3 Motivate why you think the play might be 'emotionally moving'. (4) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 9 DBE/November 2020 SC/NSC 4.4 Suggest why it is important for to be a 'brilliantly skilled' actor. Give examples from the play to demonstrate the use of vocal and physical skills. (6) 4.5 Explain how the play 'reflects the lives of people at the time' by referring to the characters and their given circumstances. (8) 4.6 Write a short article for a Heritage Day Programme. Discuss the following statements in SOURCE D in your article:  'A significant contribution to South African Theatre'  'As relevant today as it was then' Support your discussion with examples from the play. (12) [40] TOTAL SECTION B: 40 Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 10 DBE/November 2020 SC/NSC SECTION C: SOUTH AFRICAN THEATRE: POST-1994–CONTEMPORARY Answer only ONE question in this section. QUESTION 5: NOTHING BUT THE TRUTH BY JOHN KANI Study SOURCE E below and answer the questions that follow. SOURCE E DIAGRAM OF A STAGE LAYOUT You have decided to direct a production of Nothing but the Truth to highlight issues that will teach your community valuable life lessons. Use SOURCE E to help you plan the staging of the play. 5.1 Identify the stage type depicted in SOURCE E. (1) 5.2 What do the following abbreviations stand for?  usr (1)  dsl (1) 5.3 Suggest TWO advantages of using the stage type depicted in SOURCE E. (4) 5.4 Give a brief synopsis (summary) of the play for your theatre programme. (4) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 11 DBE/November 2020 SC/NSC 5.5 Choose the most suitable space in your community to stage the play and motivate why it is suitable. (3) 5.6 Explain how you would adapt the staging of the opening scene of the play to suit the space you selected in QUESTION 5.5. Refer to SOURCE E to guide you. (6) 5.7 Describe ONE moment of dramatic tension in the play. (2) 5.8 Analyse how Stanislavski's techniques of emotional memory and given circumstances might assist the actors to portray the moment of dramatic tension identified in QUESTION 5.7. (8) 5.9 Discuss how the themes and issues presented in Nothing But The Truth might teach 'your community valuable life lessons'. (10) [40] Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 12 DBE/November 2020 SC/NSC QUESTION 6: GROUNDSWELL BY IAN BRUCE Study SOURCE F below and answer the questions that follow. SOURCE F DIAGRAM OF A STAGE LAYOUT You have decided to direct a production of Groundswell to highlight issues that will teach your community valuable life lessons. Use SOURCE F to help you plan the staging of the play. 6.1 Identify the stage type depicted in SOURCE F. (1) 6.2 What do the following abbreviations stand for?  usr (1)  dsl (1) 6.3 Suggest TWO advantages of using the stage type depicted in SOURCE F. (4) 6.4 Give a brief synopsis (summary) of the play for your theatre programme. (4) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 13 DBE/November 2020 SC/NSC 6.5 Choose the most suitable space in your community to stage the play and motivate why it is suitable. (3) 6.6 Explain how you would adapt the staging of the opening scene of the play to suit the space you selected in QUESTION 6.5. Refer to SOURCE F to guide you. (6) 6.7 Describe ONE moment of dramatic tension in the play. (2) 6.8 Analyse how Stanislavski's techniques of emotional memory and given circumstances might assist the actors to portray the moment of dramatic tension identified in QUESTION 6.7. (8) 6.9 Discuss how the themes and issues presented in Groundswell might teach 'your community valuable life lessons'. (10) [40] Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 14 DBE/November 2020 SC/NSC QUESTION 7: MISSING BY REZA DE WET Study SOURCE G below and answer the questions that follow. SOURCE G DIAGRAM OF A STAGE LAYOUT You have decided to direct a production of Missing to highlight issues that will teach your community valuable life lessons. Use SOURCE G to help you plan the staging of the play. 7.1 Identify the stage type depicted in SOURCE G. (1) 7.2 What do the following abbreviations stand for?  usr (1)  dsl (1) 7.3 Suggest TWO advantages of using the stage type depicted in SOURCE G. (4) 7.4 Give a brief synopsis (summary) of the play for your theatre programme. (4) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 15 DBE/November 2020 SC/NSC 7.5 Choose the most suitable space in your community to stage the play and motivate why it is suitable. (3) 7.6 Explain how you would adapt the staging of the opening scene of the play to suit the space you selected in QUESTION 7.5. Refer to SOURCE G to guide you. (6) 7.7 Describe ONE moment of dramatic tension in the play. (2) 7.8 Analyse how Stanislavski's techniques of emotional memory and given circumstances might assist the actors to portray the moment of dramatic tension identified in QUESTION 7.7. (8) 7.9 Discuss how the themes and issues presented in Missing might teach 'your community valuable life lessons'. (10) [40] TOTAL SECTION C: 40 Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 16 DBE/November 2020 SC/NSC SECTION D: THE HISTORY OF THEATRE, PRACTICAL CONCEPTS, CONTENT AND SKILLS This question is COMPULSORY. QUESTION 8 Study SOURCE H below and answer the questions that follow. SOURCE H A POWERPOINT SLIDE FROM A LECTURE ON 20TH CENTURY THEATRE-ISMS EXPRESSIONISM DADAISM EXISTENTIALISM 20th Century 'Isms' SURREALISM SYMBOLISM CONSTRUCTIVISM 8.1 What do you understand by the term theatre-isms? (2) 8.2 Describe any ONE of the theatre-isms reflected in SOURCE H. (4) 8.3 Explain how any ONE of the theatre-isms in SOURCE H has influenced the 20th century play text you have studied. (6) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 17 DBE/November 2020 SC/NSC 8.4 Reflect on the Dramatic Arts practical work you participated in over three years. 8.4.1 Describe (in detail) ONE vocal and ONE physical warm-up exercise you used to prepare for a performance. (6) 8.4.2 Motivate your choice of acting style for a character you played. (4) 8.4.3 Discuss the skills you have developed through your participation in practical work. (8) 8.5 Technology (the use of cellphones, WhatsApp, YouTube, etc.) has enhanced live theatre in the 21st century and allows a wider sharing of the theatre experience. Using TWO examples discuss how technology has created opportunities for a wider sharing of the theatrical experience. (10) TOTAL SECTION D: 40 GRAND TOTAL: 150 Copyright reserved