# Dramatic Arts Grade 12 NSC November 2022 Memo (English) > Grade 12 Dramatic Arts memorandum from the NSC November Exam 2022 (English), 42 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/dramatic-arts-nov-2022-mg-eng/d062c555-0acb-4b13-8e58-a7a54ef411d3 - Updated: 2026-10-29 - Subject: Dramatic Arts - Grade: Grade 12 - Document type: Memorandum - Year: 2022 - Exam period: NSC November Exam - Curriculum: CAPS - Pages: 42 Breadcrumbs: [Home](https://www.hlayiso.com/) › [Library](https://www.hlayiso.com/library) › [Grade 12](https://www.hlayiso.com/library/grade-12) › [Dramatic Arts](https://www.hlayiso.com/library/grade-12/dramatic-arts) › [Dramatic Arts Grade 12 NSC November 2022 Memo (English)](https://www.hlayiso.com/library/dramatic-arts-nov-2022-mg-eng/d062c555-0acb-4b13-8e58-a7a54ef411d3) ## About this document Dramatic Arts · Grade 12 · NSC November Exam · 2022. Memorandum. 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 2022 MARKING GUIDELINES MARKS: 150 These marking guidelines consist of 40 pages and 2 annexures. Copyright reserved Please turn over ### Page 2 Downloaded from hlayiso.com Dramatic Arts 2 DBE/November 2022 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, but also to determine the complexity of the thinking process the candidate applies to the knowledge retrieved from memory. 2. The tool to assess these two components is Anderson and Krathwohl's revised Bloom's Taxonomy.  6 cognitive levels of difficulty  4 thinking processes of complexity 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) 4. 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 5. During the marking process, have regular rounds of consultation to ensure marking is standardised. 6. Where a candidate writes more than the suggested number of words, do not penalise (e.g. essay question). 7. Mark holistically. 8. Markers must accept any correct, relevant, well-motivated, focussed answers that reflect the candidates' knowledge, understanding and application of Dramatic Arts content, concepts and skills to the question. 9. The marking guideline cannot predict all responses. Provincial markers need to take this into account, be open to candidates' responses. Refer to the annexures at the end of the marking guidelines to assess rubric-based answers. 10. Markers must check that candidates' responses align with the Curriculum Assessment Policy Statement's Broad Topics and Topics, Content (concepts, skills and knowledge) and with the specific question asked. Copyright reserved Please turn over ### Page 3 Downloaded from hlayiso.com Dramatic Arts 3 DBE/November 2022 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 (point of view) from which the questions and the accompanying marking guidelines were designed and set: 1. Item/ 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 internal moderator and 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  The markers must read the task required from the question and summarise it  The markers must read the marking guideline  The markers must share alternative responses  Expectations for candidate responses should be summarised  Do not share just the quantity of evidence (how much content was provided) but also the quality of evidence  The markers must assess how well the question has been answered Introduction to the rubric  The trainers must review the rubric with reference to the question  The trainers must review procedures for assigning holistic marks by matching evidence from the response to the language of the rubric and by weighing all qualities equally  The trainers must lead the review of each question and the corresponding rubric Practise marking individually  The markers must mark a set of training scripts individually and independently  The trainers must record the marks and lead a discussion. The training scripts must contain the scores and commentaries Copyright reserved Please turn over ### Page 4 Downloaded from hlayiso.com Dramatic Arts 4 DBE/November 2022 NSC – Marking guidelines SECTION A: 20th CENTURY THEATRE MOVEMENTS QUESTION 1 The following is a guide: The candidate must:  Write the title of the play text as a heading to the essay  Answer this question in the form of an essay  Write this answer with reference to the play text which was studied  Refer to either one of the three Dramatic Theatre Movements as the context: Theatre of the Absurd OR Epic Theatre OR Postmodern Theatre in their answer  Refer to the relevant source material in the answer  Demonstrate that the question and source have been understood, analysed, evaluated and integrated in their essay  Note: If a candidate does not cover every possible fact, example, theme, etc. they may not be penalised. The focus is the quality of the argument - measured against the rubric criteria The content of the essay must cover the following:  The question  The source  How we learn from the past to help us cope with the future  Selected characters and themes and messages from the play text to support the discussion and argument  The 20th Century Theatre Movement the candidate studied (Theatre of the Absurd OR Epic Theatre OR Postmodern Theatre) Marker's note:  The candidate must demonstrate that the question and the source has been understood and critically analysed and applied in the essay  Rote learnt knowledge must be contextualised in an original argument which displays factual, contextual, procedural and meta-cognitive thinking  The rubric is a guide to the marker to assess the: o Levels of cognitive processes (remembering, understanding, applying, analysing, evaluating and creating) o Complexities of thinking displayed by the candidate (factual, conceptual, procedural, metacognitive)  Consider all the question's instructions when the essay is marked  The markers must be competent in the meaning and application (use) of: o Bloom's Taxonomy's cognitive levels and thinking processes o The rubric's criteria and level descriptors  The markers must be trained on how to use and apply all six of the cognitive levels as well as the four thinking processes to measure candidate’s achievement  The markers must award marks to the candidate’s quality of thinking about the content and not for the length or quantity of content provided Copyright reserved Please turn over ### Page 5 Downloaded from hlayiso.com Dramatic Arts 5 DBE/November 2022 NSC – Marking guidelines DESCRIPTOR MARKS THE CANDIDATE 'S RESPONSE DEMONSTRATES AN ABILITY TO: • Cognitive level and thinking process: Create, discover, renew, change in an outstanding manner with meta cognitive thinking 27–30 about the content Outstanding • Argument: 90–100% Create a new, unique and differentiated argument which shows reflexive, creative, critical Metacognitive and analytical thinking on an outstanding level A+ • The dramatic movement, play text, question and source: Create Use and contextualize outstanding additional sources from the play text, the theatre movement in an outstanding manner. Examples are from the play text and the theatre movement within an expansive range of insightfully chosen content • Cognitive level and thinking process: Judge, critique, and evaluate in an excellent manner with meta cognitive thinking about the content Excellent 24–26 • Argument: Compile an argument in an interesting pattern which shows evidence of reflective, critical Metacognitive 80–89% and analytical thinking on an excellent level • The dramatic movement, play text, question and source: Evaluate A Use and contextualize outstanding additional sources from the play text and the theatre movement in an excellent manner. Examples are from the play text, the theatre movement within a significant range of appropriately chosen content • Cognitive level and thinking process: Infer, deconstruct concepts, discover in a meritorious manner with procedural thinking Meritorious 21–23 about the content • Argument: Procedural 70–79% Compile an argument which shows critical and analytical thinking on a meritorious level • The dramatic movement, play text, question and source: Analyse B Use and contextualise examples from the play text, the theatre movement or other additional sources within a broad range of appropriately chosen content • Cognitive level and thinking process: Substantial 18–20 Apply, construct, integrate on a substantial level with procedural thinking about the content • Argument: Procedural 60–69% Compile an argument which shows critical and analytical thinking on a substantial level • The dramatic movement, play text, question, source: Apply C Integrate examples from the play text, the theatre movement or other additional sources within a substantial range of chosen content • Cognitive level and thinking process: Adequate 15–17 Interpret, exemplify, classify on an adequate level with conceptual thinking about content • Argument: Conceptual 50–59% Compile an argument which shows understanding and conceptualising of knowledge on an adequate level Understand D • The Dramatic Movement, Play Text, question, source: Provide adequate examples from the play text within a general range of predictable content • Cognitive level and thinking process: Moderate 12–14 Explain on a moderate level with conceptual thinking about content • Argument: Conceptual 40–49% Compile an argument which shows an explanation and thinking on a moderate level • The Dramatic Movement, Play Text, question, source: E Uses a few examples from the play text, the theatre movement or other additional sources Understand within a limited and moderate range of content • Cognitive level and thinking process: Elementary Identify, list, define on an elementary level with factual thinking about content 10–11 • Argument: Factual 30–39 Compile an argument which shows thinking on an elementary level F • The dramatic movement, play text, question, source: Selects only a few examples from the play text, the theatre movement or other Remember additional sources Not Achieved • Cognitive level and thinking process: 1–9 On a limited level identify, list with limited factual thinking about content Factual • Argument: 20–29% Compile an argument which shows facts on a predictable limited level • The dramatic movement, play text, question, source: G Remember Provide ideas or information, but on a limited level • Cognitive level and thinking process: Not Achieved Very little or no information. Unable to express thoughts in words 0 • Argument: Factual 0 – 19% An inability to compile a basic essay, identify, list, relate and provide sufficient facts H • The dramatic movement, play text, question, source: Remember No evidence of any factual knowledge TOTAL SECTION A: 30 Copyright reserved Please turn over ### Page 6 Downloaded from hlayiso.com Dramatic Arts 6 DBE/November 2022 NSC – Marking guidelines SECTION B: SOUTH AFRICAN THEATRE: 1960–1994 The candidate must answer only ONE question in this section. QUESTION 2: WOZA ALBERT! – PERCY MTWA, MBONGENI NGEMA AND BARNEY SIMON 2.1 Markers accept relevant and well-motivated answers which demonstrate a knowledge and understanding of stage directions. Award full marks for:  One well-motivated statement OR  Two separate thoughts/ ideas The following is a guide: The function of stage directions is to:  Reflect the thoughts and intention of the playwright which cannot be done only through dialogue in the play text  Guide the actors' physicality, movement, placement and behaviour on stage  Determine the type of stage space required for the play, types of actors needed, props and costume  Determine what the characters should look like e.g.: Auntie Dudu wears a shawl (2) 2.2 Markers accept answers which demonstrate a knowledge and understanding of the technical elements of a production. The following is a guide:  Award two marks for the correct answer The technical element is lighting. (2) 2.3 Markers accept relevant and well-motivated answers which demonstrate an understanding of how the use of technical elements creates the dramatic effect and impact of a production. Award full marks for:  Two well-motivated statements OR  Four separate thoughts/ ideas The following is a guide: The dramatic effect created by the lighting is to:  Dim the lights, to focus the audience' attention on the stage area and action of the play  Make the bodies of the actors visible to the audience  Shape the bodies of the actors to frame them for the audience  Place the focus on what is lit, in this case, the actors  Enrich the mood of the scene, e.g. by dimming the lighting, a sombre mood might be created (4) Copyright reserved Please turn over ### Page 7 Downloaded from hlayiso.com Dramatic Arts 7 DBE/November 2022 NSC – Marking guidelines 2.4 Markers accept relevant and well-motivated answers which demonstrate knowledge, understanding and application of vocal and/or physical skills in the portrayal of a character. Award full marks for:  Three well-motivated statements OR  Six separate thoughts/ ideas The following is a guide: Vocal skills The actors might:  Use the attributes of speech such as volume, pitch, pace, emphasis, intonation and ideophones to portray and communicate:  How the actors have created musicians with their bodies  Mood, atmosphere and emotions  Characters' traits, personalities, habits, behaviour and attitudes to highlight issues in the play  The jazz band by creating rhythmic beats for the bongo drum and deep resonance for the saxophone  Sounds of various musical instruments  The change in accents and use of language to transform into the policeman and musician AND/ OR Physical skills The actors might:  Use their physical skills such as movement, gesture, facial expression, weight, posture, energy, mime, physical theatre, position, characterisation and transformation to portray and communicate:  Mood, atmosphere and emotions  Character traits, personalities, habits, behaviour and attitudes  The creation of musical instruments as well as the playing of the instruments, even creating a jazz band  The transformation of the actor from one character into another in front of the audience (6) 2.5 Markers accept relevant and well-motivated answers which demonstrate knowledge of stage production and a valid assessment of a suitable set. Award full marks for:  One well-motivated statement OR  Two separate thoughts/ ideas The following is a guide: The set:  Should contain two tea chests/ boxes and a clothes rail with a few costumes/ props hanging from it  Is minimalistic and multi-functional, e.g. a box or crate may become the helicopter, train, lorry, etc.  Conforms to the principles of Poor Theatre (2) Copyright reserved Please turn over ### Page 8 Downloaded from hlayiso.com Dramatic Arts 8 DBE/November 2022 NSC – Marking guidelines 2.6 Markers accept relevant and well-motivated answers which demonstrate an analysis of the actors' use of the set and performance space.  Mark holistically The following is a guide: The actors might use the set:  To change the setting or the environment, e.g.:  Percy and Mbongeni creating a totem which sets the scene for the beginning of the play  The use of the tea chest becomes a platform as a stage on which they can create instruments  The front of the tea chests can become the audience  The musician can use the tea chest and place it closer to the audience when he leaves the stage to create intimacy with the audience (8) 2.7 Markers accept relevant and well-motivated answers which demonstrate a knowledge and understanding of the positives in the lives of the characters. Award full marks for:  Three well-motivated statements OR  Six separate thoughts/ ideas The positives in the lives of the characters are depicted in Image A:  Zulu boy and Bobbejaan are dancing and singing boldly and freely  Song and dance become a mechanism through which they can escape and cope with their oppressive circumstances  They display a moment of joy and exuberance despite their hardship  A sense of unity, camaraderie and friendship is created despite their suffering and punishing work  They defy the harsh conditions under which they live and work  The human spirit is eternally hopeful and even under the harshest circumstances the two characters hope for a better life e.g.: The Barber who dreams of having a better future and having a proper building for his shop (6) Copyright reserved Please turn over ### Page 9 Downloaded from hlayiso.com Dramatic Arts 9 DBE/November 2022 NSC – Marking guidelines 2.8 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept answers which identify and evaluate themes and messages as depicted (shown) in the images.  Award up to three marks if a candidate only provides a list of themes The following is a guide: The evaluation of the themes and messages might include a discussion of the following:  Pass laws: Black people were obligated to carry a passbook or 'dompas' on their person at all times. Failure to do so would result in imprisonment by the apartheid police  The lack of freedom: The apartheid state banned black people to go to certain areas and they could only live in areas approved by the government. Freedom to walk, travel and live where they wished to, was denied to black people  Police brutality: The apartheid government wrote and enforced brutal laws to oppress black people. The treatment by the police forces of black people was inhumane. The police would interrogate, beat, arrest, detain and torture people  Unemployment: Black people had to have a passbook to be employed. But only a limited amount of people was provided with passbooks. And if they were, the dates and stamps in the books had to be renewed regularly. This ruthless system resulted in the majority of black people being unemployed  Poverty: Black people were not allowed to own or run businesses. They were forced to work for white people. They were paid poorly and could only apply for menial jobs. With the large amount of unemployed people and the menial salaries the employed people were paid, there was deep and painful poverty  Loss of black lives: The state security forces would often shoot and kill black people during protest marches. Many black people were tortured to death during imprisonment and interrogation  Lack of education: The apartheid state did not provide schools or teachers for black people. If they did, the buildings and the salaries were insufficient to deliver effective education. If they did go to school, they were forced to learn in a language which was not their mother tongue. They were also forced to learn about cultures which were not their own. This resulted in educational principles and concepts not being understood or not being relevant to black people and their cultures. The lack of schooling, or schooling in a foreign language and cultures, resulted in a lack of education Candidates must substantiate their points. (10) [40] Copyright reserved Please turn over ### Page 10 Downloaded from hlayiso.com Dramatic Arts 10 DBE/November 2022 NSC – Marking guidelines QUESTION 3: SOPHIATOWN – THE JUNCTION AVENUE THEATRE COMPANY 3.1 Markers accept relevant and well-motivated answers which demonstrate a knowledge and understanding of stage directions. Award full marks for:  One well-motivated statement OR  Two separate thoughts/ ideas The following is a guide: The function of stage directions is to:  Reflect the thoughts and intention of the playwright which cannot be done through dialogue in the play-text only  Guide the actors' physicality, movement, placement and behaviour on stage  Guide the actors' verbally  Give the actors guidelines, e.g. where to move, how to talk en what to do in a live production  Determine the type of stage space required for the play, types of actors needed, props and costume  Determine what the characters should look like e.g.: Mingus is a gangster and will wear fashionable clothes (2) 3.2 Markers accept answers which demonstrate a knowledge and understanding of the technical elements of production. The following is a guide:  Award two marks for the correct answer. The technical element is lighting. (2) 3.3 Markers accept relevant and well-motivated answers which demonstrate an understanding of how the use of technical elements creates the dramatic impact of a production. Award full marks for:  Two well-motivated statements OR  Four separate thoughts/ ideas The following is a guide: The dramatic effect created by the lighting is to:  Shift the audiences' attention to the stage and the action of the play  Open the play to the audience to see the entire cast who begin singing  Highlight Jakes as the narrator with the use of a spotlight  Place the focus on what is lit, in this case, the actors  Make the actors visible to the audience  Shape the bodies of the actors  Enrich the mood of the scene, e.g.  By dimming the lighting, a sombre mood might be created  By using colourful lighting, a more positive mood can be created (4) Copyright reserved Please turn over ### Page 11 Downloaded from hlayiso.com Dramatic Arts 11 DBE/November 2022 NSC – Marking guidelines 3.4 Markers accept relevant and well-motivated answers which demonstrate a knowledge, understanding and application of either vocal and/ or physical skills in portraying a character. Award full marks for:  Three well-motivated statements OR  Six separate thoughts/ ideas The following is a guide: Vocal skills The actors might:  Use the attributes of voice such as volume, pace, emphasis, intonation and ideophones which are used in the song to portray and communicate:  Mood, atmosphere and emotions  Character traits, personalities, habits, behaviour and attitudes to highlight issues in the play AND/ OR Physical skills The actors might:  Use their physical skills such as movement, choreographed sequences, gesture, facial expression, weight, posture, energy, mime, physical theatre, body position, characterisation and transformation to portray and communicate:  Mood, atmosphere and emotions  Character traits, personalities, habits, behaviour and attitude (6) 3.5 Markers accept relevant and well-motivated answers which demonstrate knowledge of stage production and a valid assessment of a suitable set. Award full marks for:  Two well-motivated statements OR  Four separate thoughts/ ideas The following is a guide: The set:  Is in a Brechtian style because it consists of posters, banners, signs and slogans which emphasise the events of the play, e.g. the forced removals of the inhabitants of Sophiatown and their resistance to leave (We Won't Move)  Should contain the interior of Mamariti's Diamond Shebeen and show the living room of her home  The telegraph poles might be placed to run through the audience to break down the distance and division between the actors and the audience and to remove the fourth wall (4) Copyright reserved Please turn over ### Page 12 Downloaded from hlayiso.com Dramatic Arts 12 DBE/November 2022 NSC – Marking guidelines 3.6 Markers accept relevant and well-motivated answers which demonstrate an analysis of the actors' use of the set and performance space.  Mark holistically The following is a guide: The actors might use the set:  To change the setting or the environment, e.g.:  An area off-stage, but still part of the set, is the shebeen used for customers to drink liquor, dance and sing  Another area, on stage but part of the set, is where Lulu does her homework  Another area of the set is where Jakes writes his column  Into a meeting and gathering place on the set  To show their status in the play, e.g. Mamariti sits centre stage to indicate she is the dominant character in the house (6) 3.7 Markers accept relevant and well-motivated answers which demonstrate a knowledge, understanding and analysis of the positives in the lives of the characters. Award full marks for:  Three well-motivated statements OR  Six separate thoughts/ ideas The positives of the lives of the characters are depicted in Image A:  Two dancers can be seen dancing with energy and joy  Music and dance offered the characters a temporary escape from reality and the hardships of life  The clothes of the actors in the image depict the characters dressing up and becoming part of a vibrant and cosmopolitan lifestyle to escape the difficult reality of their lives  The characters dressed up to go out dancing to celebrate their culture and to escape their poverty (6) Copyright reserved Please turn over ### Page 13 Downloaded from hlayiso.com Dramatic Arts 13 DBE/November 2022 NSC – Marking guidelines 3.8 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept answers which identify and evaluate themes and messages as depicted (shown) in the image.  Award up to three marks if a candidate only provides a list of themes The following is a guide: The evaluation of the themes and messages might include a discussion of the following:  Forced removals: The apartheid government laws dictated that certain living areas must be destroyed. The areas identified for destruction, belonged to Black, Coloured and Indian people. Bulldozers arrived and destroyed all buildings, churches and houses. People were forcibly removed out of their houses and loaded onto trucks to be dropped off in areas which were chosen by the government. Most of these areas had no infrastructure, were far from cities and often had no environmental riches. This brutality caused broken homes, untold grief, terror and trauma for the people who lived in Sophiatown  Protest: There were planned protests by the people to resist the forced removals. However, the protest did not materialise because the government sent the police force and the bulldozers three days earlier than the date which was communicated to the people  Giving a voice to the voiceless: The creators of Sophiatown, The Junction Avenue Theatre, wanted to tell the history of the place Sophiatown. The play gives a voice to the voiceless. The voiceless being every person who lived in Sophiatown and who was forcibly removed. A voice is also given to the art which was destroyed; the dances, songs, visual art and writings by journalists and playwrights  Racial and cultural diversity Sophiatown, the place, was a vibrant, multicultural and multiracial area. The community of people accepted differences and celebrated diversity Candidates must substantiate their points. (10) [40] Copyright reserved Please turn over ### Page 14 Downloaded from hlayiso.com Dramatic Arts 14 DBE/November 2022 NSC – Marking guidelines QUESTION 4: SIENER IN DIE SUBURBS – PG DU PLESSIS 4.1 Markers accept relevant and well-motivated answers which demonstrate a knowledge and understanding of stage directions. Award full marks for:  One well-motivated statement OR  Two separate thoughts/ ideas The following is a guide: The function of stage directions is to:  Reflect the thoughts and intention of the playwright which cannot be done only through the dialogue in the play text  Guide the actors' physicality, movement, placement and behaviour on stage  Guide the actors on what to do both verbally and physically on stage  Give the actors instructions, e.g. where to move, how to speak or what to do in a live production  Determine the type of stage space needed for the play, types of actors needed, props and costumes  Determine what the characters should look like e.g.: Tjokkie is wearing a overall because he is working on a car (2) 4.2 Markers accept answers which demonstrate a knowledge and understanding of technical elements of production. The following is a guide:  Award two marks for the correct answer. The technical element is the curtain. (2) 4.3 Markers accept relevant and well-motivated answers which demonstrate an understanding of how technical elements create the dramatic impact of a production. Award full marks for:  One well-motivated statements OR  Two separate thoughts/ ideas The following is a guide: The dramatic effect caused by the opening of the curtain:  Announces that the play has started  Draws the focus onto the opening scene as the world of the play is revealed  Reveals the set and environment, placing focus on Tjokkie working on his car in the back yard of their suburban home (2) Copyright reserved Please turn over ### Page 15 Downloaded from hlayiso.com Dramatic Arts 15 DBE/November 2022 NSC – Marking guidelines 4.4 Markers accept relevant and well-motivated answers which demonstrate a knowledge, understanding and application of vocal and/ or physical skills in portraying a character. Award full marks for:  Four well-motivated statements OR  Eight separate thoughts/ ideas The following is a guide: Vocal skills The actors might:  Use the attributes of speech such as volume, pace, emphasis, intonation, ideophones and words to portray and communicate  Mood, atmosphere and emotions  Character traits, personalities, habits, behaviour and attitudes  Ma speaks with a slow pace to communicate her insecurity  Tjokkie and Ma both use long pauses to show their discomfort with each other  Tjokkie speaks with a staccato voice to show his short temper and moodiness  Tjokkie and Ma project their voices because there is a distance between them (Ma is at the door and Tjokkie is under the car) AND/ OR Physical skills The actors might:  Use their physical skills such as movement, gesture, facial expression, weight, posture, energy, position, characterisation and transformation to portray and communicate:  Mood, atmosphere and emotions  Character traits, personalities, habits, behaviour and attitudes  The actor playing Tjokkie must crawl in under the car  The actor playing Tjokkie shows his passion for cars by his swift, energetic gestures  The actor playing Ma might move slowly to show her hopelessness (8) 4.5 Markers accept relevant and well-motivated answers which demonstrate knowledge of stage production and a valid assessment of a suitable set. Award full marks for:  Two well-motivated statements OR  Four separate thoughts/ ideas The following is a guide: The set:  Is a depiction of the backyard of a low-class semi-detached house in the 1970’s  Should show the back door and stoep of the house  Should show the garage with the car  Should have an open area between the house and the garage creating a space for most of the action  Should conform to the principles of Realism in the Theatre in the use of e.g. the set, set dressing, props and furniture (4) Copyright reserved Please turn over ### Page 16 Downloaded from hlayiso.com Dramatic Arts 16 DBE/November 2022 NSC – Marking guidelines 4.6 Markers accept relevant and well-motivated answers which demonstrate an analysis of the actors' use of the set and performance space. Mark holistically The following is a guide: The actors:  Through the use of the spoken word, their bodies, voices and characterisation, create the illusion of Realism in the Theatre  Use the set as a realistic environment for the action by creating a believable world, using a real car on stage and real mechanical tools  Use the washing line to hang up clothes to show they live there  Use the back door to allow them to enter onto the stage and exit off the stage  Use the garage with the car and all the mechanical tools to work on the car  Use the gate to allow them to enter and exit the stage and create the illusion of going to a real street (6) 4.7 Markers accept relevant and well-motivated answers which demonstrate a knowledge, understanding and analysis of the positives in the lives of the characters. Markers accept any other character which might be discussed. Award full marks for:  Three well-motivated statements OR  Six separate thoughts/ ideas The positives of the lives of the characters are depicted in Image A:  The image looks like a quiet and peaceful moment for Tiemie  Jakes is not with her to pressure her to have a baby  He is not abusing her and making her want to leave the suburbs  She is painting her nails which might be because she wants to look beautiful  If she is beautiful, she might fit in with the 'dandies'  If she fits in, she might make a life for herself independently of Ma or Jakes  She might find a home in one of the rich neighbourhoods in which the 'dandies' live  She can escape from the poverty of her current neighbourhood and home  She can leave her abusive relationship with Jakes (6) Copyright reserved Please turn over ### Page 17 Downloaded from hlayiso.com Dramatic Arts 17 DBE/November 2022 NSC – Marking guidelines 4.8 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept answers which identify and evaluate themes and messages as depicted (shown) in the images. The following is a guide: The evaluation of the themes and messages of the play as depicted in image B: A man hits a woman.  Abuse:  In Siener in die Suburbs we learn that Jakes hit Tiemie until she bled  Abuse in intimate relationships is a frequent occurrence everywhere  In the image Jakes slaps Tiemie forcefully with his hand. This is an abuse of his power. In relationships we all have power and we must use this power with care and not dominate one another through any form of abuse, subtle or unsubtle  People are not educated on what causes, constitutes, prevents and mends the broken relationships caused by abuse  There are many groups in society who are especially targeted for abuse, e.g. people with challenges, women, the elderly, albinos, children, foreign nationals, people of the LBGTQI+ communities  We must learn what abuse is, e.g.:  Verbal: Silences, shouting, swearing, dysfunctional communication, gossip, lying, aggression in voice/ tone/ words chosen to communicate with  Physical: Pushing, shoving, poking, aggressive gesturing, kicking, slapping, wrestling, beating, threatening with weapons, etc.  Financial: Withholding money, stealing money, fraudulently making money  Sexual: Rape, cheating, flirting  Emotional and psychological: Manipulation, intimidation, lying, belittling, demeaning, bullying, twisting stories, shaming, blaming, withholding approval, withholding love, isolating someone, rejecting someone  Some solutions to stop abuse.  Nobody should commit any of the types of abuses listed above  Stop any of the listed types of abuse when you see/ hear it is happening and/ or even if it has already happened  Report abuse immediately  Seek support from institutions or experienced practitioners who specialise in the prevention of abuse, e.g. Rape Crisis, Stop violence against children and women  Poverty:  The characters in the play are white poor individuals  They live in the Suburbs  Few of them have well-paying jobs Copyright reserved Please turn over ### Page 18 Downloaded from hlayiso.com Dramatic Arts 18 DBE/November 2022 NSC – Marking guidelines  Poverty can result in:  Alcoholism e.g.: Jakes gets drunk and creates chaos in the lives of this family  Limited dreams of the future e.g.: Fe only want to become pregnant, she has no ambition  Gambling e.g.: Giel dreams of making a fortune in money  Dependency and deceit: Ma lives off an ill gotten pension (It is her husband’s pension) Candidates must substantiate their points (10) [40] Copyright reserved Please turn over ### Page 19 Downloaded from hlayiso.com Dramatic Arts 19 DBE/November 2022 NSC – Marking guidelines SECTION C: SOUTH AFRICAN THEATRE: POST 1994–CONTEMPORARY QUESTION 5: NOTHING BUT THE TRUTH BY JOHN KANI 5.1 Markers accept other relevant and well-motivated answers which demonstrate knowledge and an understanding of Realism in the Theatre. Award full marks for:  One well-motivated statement OR  Two separate thoughts/ ideas The following is a guide: Realism in the Theatre includes:  A realistic set, props, costumes, dialogue, characters, lighting, sound effects and all other elements/ facets of the play which are based in real life and used together to create the illusion of reality and real life – a slice of life  A complex and highly artificial plot, a build-up of suspense, a climactic scene in which all problems are resolved, and a happy ending (2) 5.2 Markers accept relevant and well-motivated answers which demonstrate knowledge and understanding of the realistic set as an environment for the action. Award full marks for:  Two well-motivated statements OR  Four separate thoughts/ ideas The following is a guide: The set:  Is a representation of the theatrical genre of Realism  Is the environment in which the dramatic action takes place  Is a box set which is an exact replica of a township house  Is the home of Sipho Makhaya  Represents a generic township house: 3,6 x 7,2 metres  Represents 46 Madala Street, New Brighton  Contains a lounge and kitchen and suggests two bedrooms beyond the bead curtains which lead off stage  Contains detailed props to complete the realistic visual picture on stage  Has a street which is also a part of the environment of the play, as is the sky above the house, lit by the cyclorama  Outside the house, has sand or gravel and some litter lying on the ground to represent the street/ pavement (4) Copyright reserved Please turn over ### Page 20 Downloaded from hlayiso.com Dramatic Arts 20 DBE/November 2022 NSC – Marking guidelines 5.3 Markers accept relevant and well-motivated answers which demonstrate an application of how Stanislavski's System/ Method can create a believable performance when used by an actor to transform into character and how this makes an audience empathise and believe in the created reality on stage so much that they apply this to their own lives. Award full marks for:  Three well-motivated statements Stanislavski's System/ Method might help the actor through the application and use of:  Truthful interpretation: The actor creates a truthful interpretation for a specific character through the authentic use of intention, emotion, physicality and vocal qualities  Emotional memory: The actor can draw from their personal experiences and memories to create the emotional reality of the play, character and given circumstances in performance. An actor must only draw on (use) emotions that are older than seven years  Magic if: The actor should live, feel, think, talk and behave as if they are the character. Vocal and physical responses could, therefore, vary from performance to performance, but will always be realistic and truthful  Circles of attention: The actor's focus should be on the world of the play on stage and not on the audience  Super objective and objectives The actor must have a motivation and reason for each action (line, behaviour, attitude, emotion)  Given circumstances: The actor must research and react in character to the time, place and socio-economic circumstances of the play, the people and the society at the time in which the play is set If a candidate merely lists the techniques, they can achieve two marks. (6) Copyright reserved Please turn over ### Page 21 Downloaded from hlayiso.com Dramatic Arts 21 DBE/November 2022 NSC – Marking guidelines 5.4 Markers accept relevant and well-motivated answers which demonstrate knowledge of the well-made play structure. The candidate should also show an ability to analyse why and how the play structure reveals the developments and actions in the play. Accept different interpretations of the well-made play structure and valid thoughts. Award full marks for:  Four well-motivated statements OR  Eight separate thoughts/ ideas The following is a guide: The well-made play structure: Exposition:  Is laid out as a Realism in the Theatre play from the beginning of the script  Gives information on the given circumstances, the play and the characters  Communicates the play is set at 46 Madala Street, New Brighton in the year 2000  Presents Sipho Makhaya, 63, Assistant Chief librarian at the Port Elizabeth Public Library, returning from work and waiting for the arrival of the body of his late brother Themba  Identifies Thando Makhaya, his daughter who works at the TRC. She arrives home and questions her father about Themba. Sipho evades the questions Inciting incident:  Could be seen as Themba's death or the arrival from London of Mandisa, Themba's daughter, with Themba's ashes Rising Action/ Complication:  Is created through the continuous questioning about the past by Thando and Mandisa and Sipho's avoidance to give them answers  Shows sensitive issues around fatherhood  Is created by the news that Sipho didn't get the post of Chief Librarian  Is created by Thando's desire to go to Johannesburg and London with Mandisa Climax/ Turning point:  Is reached by Sipho's drinking as a result of his stresses and this contributes to his outburst and the climax of the play  Is achieved when Sipho reveals the 'truth the whole truth and nothing but the truth', e.g. the possibility of Thando being Themba's daughter  Is created by Sipho who experiences a personal revelation about the truth of his own life and his future Denouement/ Resolution:  Is experienced when Sipho forgives Themba for his past betrayals  Is achieved when Sipho vows to open his own African Public Library in New Brighton We want to watch the play to the end to see what happens because:  We can relate to the family and their struggles  Sipho keeps us wanting to know the truth because we know he is hiding something  We want a better life for Sipho because he suffered so much during apartheid in his personal and professional life  There is dramatic irony because we know that there is unresolved conflict between Sipho and Themba (8) Copyright reserved Please turn over Text truncated here. 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