# Dramatic Arts Grade 12 November 2024 NSC Memo (English) > Grade 12 Dramatic Arts memorandum from the November 2024 NSC (English), 46 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/dramatic-arts-nov-2024-mg-eng/a8a41d57-4c72-421e-9a1b-3f5f84157dd8 - Updated: 2026-10-29 - Subject: Dramatic Arts - Grade: Grade 12 - Document type: Memorandum - Year: 2024 - Exam period: November 2024 NSC - Curriculum: CAPS - Pages: 46 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 November 2024 NSC Memo (English)](https://www.hlayiso.com/library/dramatic-arts-nov-2024-mg-eng/a8a41d57-4c72-421e-9a1b-3f5f84157dd8) ## About this document Dramatic Arts · Grade 12 · November 2024 NSC · 2024. 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 NATIONAL SENIOR CERTIFICATE GRADE 12 DRAMATIC ARTS NOVEMBER 2024 MARKING GUIDELINES MARKS: 150 These marking guidelines consist of 44 pages and 2 annexures. Copyright reserved Please turn over ### Page 2 Dramatic Arts 2 DBE/November 2024 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 by candidates. It is also to determine the complexity of the thinking process the candidate applies to the knowledge retrieved from memory. 2. The tool to assess the two components, knowledge and thinking, is Anderson and Krathwohl's Revised Bloom's Taxonomy. This taxonomy is designed to measure: • 6 levels of cognitive difficulty • 4 thinking processes of complexity 3. Markers: • Spend the first day unpacking both the quality and quantity of the evidence in the marking guidelines. • Identify common definitions and concepts • Assimilate and standardise the: o Expected responses for each question required from the candidate o The cognitive level of difficulty/complexity required from the candidate o The type of thinking process and complexity of thinking required from the candidate o Action verbs used at each of the cognitive levels and the type of evidence required (facts, concepts, skills, processes, techniques, exercises and thinking) • Tick clearly next to the required cognitive level/thinking process of complexity/ concept/content/skills/knowledge aspects required when a mark is awarded. • The Chief Marker and Internal Moderator may only appoint a marker with relevant qualification in Drama from a recognised Institution of Higher Education • New or inexperienced markersꞌ marking and marks must be moderated by either the Chief Marker or the Internal Moderator. • Accept other correct and relevant answers which reflect the candidate’s knowledge, understanding and application of Dramatic Arts Content, Concepts and Skills in relation to the question. The Dramatic Arts question paper contains questions which mostly requires candidates to provide their own opinions or experiences and apply original or creative thinking. Mark with a holistic view and accept correct and relevant answers other than what might be in the Marking Guidelines • Engage actively with the answer • Refer to the rubrics in the annexures, at the end of the marking guidelines, to ensure the marking is fair, valid and reliable and measured against clear criteria. • The Tolerance Range in Dramatic Arts are adapted annually to serve the Paper. If a marker’s marks are lower or higher than the Tolerance Range then the Chief marker and the Internal Moderator must decide whether to accept or reject the mark • Have regular rounds of consultation/training during the marking process, to ensure marking remains standardised Copyright reserved Please turn over ### Page 3 Dramatic Arts 3 DBE/November 2024 NSC – Marking Guidelines • The Marking Guidelines cannot predict all possible, correct and valid responses. Provincial markers must take this into account and must be receptive about the candidates’ answers • Must mark holistically • Must check that candidates' responses align with the Curriculum Assessment Policy Statement's four Broad Topics and Grade 10/11 /12 Topics, Content (concepts, skills and knowledge) and with the specific question demands • Must make short comments of why an answer must be awarded marks, when the marking guideline does not include a specific response provided by a candidate Copyright reserved Please turn over ### Page 4 Dramatic Arts 4 DBE/November 2024 NSC – Marking Guidelines STANDARDISATION OF MARKING ACROSS THE PROVINCES Rating of the 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. Item difficulty (Question): How complex/difficult is the design of the actual question/item itself? 2. Task difficulty (Marking guideline): What is the complexity/difficulty of the cognitive level and thinking process required from the candidate? 3. Stimulus difficulty (Source): How complex/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 question, 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 must: • Ensure there is standardisation of the scoring of candidates' answers and responses for each part of the examination • Standardise the national marking procedures, processes and results • Follow the procedure below: Interrogate the item (question) and task (marking guidelines): o Read the question and determine the level of complexity and difficulty of the design of the question: low, middle, or high level o Read the task (marking guidelines) and determine what content is required from the candidate to answer the question. Summarise the content o Share response plans and summarise expectations for learner responses o Share not only the quantity of evidence (how much), but also the quality of evidence (how well) Facilitate the training of the marker on the marking guidelines and the rubrics o Review the rubric with reference to the item and the task o Review the 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) Practise marking individually o Mark a set of practice papers individually o Markers must score the papers independently The chief marker/internal moderator must record the markers' scores and must lead the discussion. (Practice papers should contain scores and commentaries.) Copyright reserved Please turn over ### Page 5 Dramatic Arts 5 DBE/November 2024 NSC – Marking Guidelines SECTION A: 20th CENTURY EUROPEAN THEATRE MOVEMENTS QUESTION 1 The candidate must: • Answer this question in the form of an essay • Reference the play text studied • Apply either one of the three Theatre Movements within the context of the requirements of the question: o Theatre of the Absurd OR o Epic Theatre OR o Postmodern Theatre • Refer to the source material in their answer • Refer to the question in their answer • Demonstrate that the question and source have been understood, analysed, applied, evaluated and integrated into their essay • Contextualise rote learnt knowledge in a discussion which displays factual, contextual, procedural and metacognitive thinking • Display creativity in the application of the demands of the question Markers note: • Candidates must demonstrate that the above have been understood and critically analysed and applied in their essay. • The Rubric is a guide to the marker to assess the: o Cognitive levels (remembering, understanding, applying, analysing, evaluating and creating) o Complexities of thinking displayed by the candidate (factual, conceptual, procedural, metacognitive) • All the questions' levels, elements and instructions must be considered when the essay is marked • To award a fair, valid and reliable mark, markers must be competent in the meaning and application of Anderson and Krathwohl's Revised Bloom's Taxonomy as well as the design, purpose, use and application of a rubric: o Criteria (skills, knowledge, concepts, techniques and content) o Level descriptors (low, middle and high) o Word descriptors o Action verbs o Cognitive levels o Thinking processes • Markers must be trained rigorously how to identify, use and apply all six of the cognitive levels as well as the four thinking processes to measure candidates' achievements. Copyright reserved Please turn over ### Page 6 Dramatic Arts 6 DBE/November 2024 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 metacognitive thinking about 27–30 the content Outstanding • Argument (Discussion/Description): 90–100% Create a new, unique and differentiated argument which shows reflexive, creative, critical, Metacognitive and analytical thinking on an outstanding level Create A+ • The theatre movement, Play text, question, and source: Use and contextualize outstanding additional sources from the Play text and 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 and additional sources • Cognitive level and thinking process: Judge, critique, and evaluate in an excellent manner with metacognitive thinking about the content Excellent 24–26 • Argument (Discussion/Description): Metacognitive 80–89% Compile an argument in an interesting pattern which shows evidence of reflective, critical and analytical thinking on an excellent level • The theatre 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 and additional sources • Cognitive level and thinking process: Infer, deconstruct concepts, discover in a meritorious manner with procedural thinking Meritorious 21–23 about the content • Argument (Discussion/Description): Procedural 70–79% Compile an argument which shows critical and analytical thinking on a meritorious level • The theatre 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 (Discussion/Description): Procedural 60–69% Compile an argument which shows critical and analytical thinking on a substantial level • The theatre movement, Play text, question, and 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: Interpret, exemplify, classify, on an adequate level with conceptual thinking about the Adequate 15–17 content • Argument (Discussion/Description): Conceptual 50–59% Compile an argument which shows understanding and conceptualising of knowledge on an adequate level Understand D • The theatre movement, Play text, question, and 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 the content • Argument (Discussion/Description): Conceptual 40–49% Compile an argument which shows an explanation and thinking on a moderate level • The theatre movement, Play text, question, and source: E Use a moderate amount of examples from the Play text, the theatre movement or other Understand additional sources within a limited range of content • Cognitive level and thinking process: Elementary 10–11 Identify, list, define on an elementary level with factual thinking about the content Argument (Discussion/Description): Factual 30–39 Write a basic essay which shows thinking on an elementary level • The theatre movement, Play text, question, and source: Remember F Select some examples from the Play text, the theatre movement or other additional sources • Cognitive level and thinking process: Not Achieved 1–9 On a limited level identify, list with limited factual thinking about the content • Argument (Discussion/Description): Factual 20–29% Write facts on a predictable limited level • The theatre movement, Play text, question, and source: Remember G Provide ideas or information, but on a limited level • Cognitive level and thinking process: 0 Very little or no information. Unable to express thoughts in words • Argument (Discussion/Description): Not Achieved 0–19% An inability to compile a basic essay, identify, list, relate and provide sufficient facts • The theatre movement, Play text, question and source: H No evidence of any factual knowledge TOTAL SECTION A: 30 Copyright reserved Please turn over ### Page 7 Dramatic Arts 7 DBE/November 2024 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 Markers accept relevant answers which demonstrate knowledge of the opening scene. Award full marks for: • Two separate thoughts/ideas The following is a guide: In the opening scene: • The actors create a totem pole • The actors form a jazz band • The policeman asks the musician for his 'dompas'/passbook • One actor transforms from the jazz band into the policeman and the other remains the musician (2) 2.2 Markers accept answers which demonstrate knowledge and understanding of the play and the character transformation techniques which might be used by the actors. The following is a guide: Award full marks for: • Two well-motivated statements OR • Four separate thoughts/ideas The director might direct the actors to transform characters by: • Changing from being the jazz band into becoming the policeman. This is done by shifting and re-adjusting posture, physical energy and vocal expression. There are also shifts from making the sound of a musical instrument to speaking with the authority and accent of an Afrikaans policeman when he puts on his ping pong nose, changes his posture to be upright and uses his voice to become authoritative and sarcastic • Transforming from being the jazz band into the musician. This is done by altering his posture and mannerisms showing submission towards the white policeman, as well as changes and uses his voice into a humble, pleading voice of someone who is seen to be inferior within the context of an apartheid South Africa (4) Copyright reserved Please turn over ### Page 8 Dramatic Arts 8 DBE/November 2024 NSC – Marking Guidelines 2.3 Markers accept relevant answers which demonstrate knowledge and understanding of the use of costume. Award full marks for: Two well-explained statements The following is a guide: The items hanging on the clothes rail might be used for the following: • Baas Kom's jacket, which suggests his work uniform, might be created by using the white dust coat • Aunty Dudu's shawl might be created by using a white dust coat • The barber's sheet, which the barber puts on the shoulders of his customers, might be created by using the white dust coat • The coal vendors' sacks which they put over their heads might be made by hanging any one of the garments over their heads • The toothless old man's overcoat might be made with any one of the garments on the rail • The clothes rail might be used as a screen behind which the actors can make costume or character changes • The blanket might be used to represent the prisoners' beds • The blanket might be used as the table for the meat vendor’s meat (4) 2.4 Markers accept relevant and well-motivated answers which demonstrate knowledge, understanding and an application of improvisation. Award full marks for: Two well-explained statements The following is a guide: The director might direct the actors to, in Image A: • Use their bodies and gestures in many ways to improvise playing jazz music instruments, such as drums, a saxophone and any other instruments that they might imagine and visualise using. (The differences in the use of the body might vary from one rehearsal to another.) • Use mime to play musical instruments in many ways • Use creativity and originality, found through the action of improvisation, might enhance the impact of the performance • Manipulate their bodies to create different shapes, to be able to experiment with this through improvisation • Experience creative freedom to interpret the physical and vocal characteristics in a unique and varied manner through the process of improvisation • Use idiophones to create the sounds of musical instruments The director might direct the actors to, in Image B: • Improvise various ways of walking and talking as policeman and musician to find the characterisation that works most effectively • Experiment with different postures, e.g. being a policeman might require a character with an upright posture or a 'wall-like' movement (Laban) • Improvise various ways of using their voices when portraying the different characters, so that each character has their own unique and different way of speaking • Improvise role play and transformation choices before making their creative choices • Adjust or adapt the acting or lines when these are forgotten (4) Copyright reserved Please turn over ### Page 9 Dramatic Arts 9 DBE/November 2024 NSC – Marking Guidelines 2.5 Markers accept relevant and well-motivated answers which demonstrate knowledge, understanding and application of physical and vocal skills. Markers distinguish between physical and vocal skills content. Award full marks for: • Three well-explained statements OR • Six separate thoughts/ideas The following is a guide: Physical skills required: • Character creation or transformation: The actors must create multiple characters and transform (change) from one character to another. This is done through the use of singing, dancing, physical theatre and movement • Flexibility and/or fitness and/or stamina: The actors change character throughout the play and are on stage for the entire duration of the play and need these physical skills • Miming: There are no elaborate sets and props, the actors must create these using their physical bodies (6) 2.6 Markers accept relevant and well-explained answers which demonstrate knowledge, understanding and analysis of the phases of workshopping a play. Note: Some provinces teach five, and others teach six, workshop phases. Both are correct. Award full marks for: • Three well-explained statements OR • Six separate thoughts/ideas • If a candidate only listed the steps, a maximum of three marks will be awarded The following is a guide: The workshop process consists of: An idea/message: • In Woza Albert! the idea which was brainstormed was of what would happen if Morena came back to an apartheid South Africa Research and observation: • People in Soweto were interviewed, e.g. at Dube station, in the markets, a barber working outside in the open air, etc. The creators were also influenced by Grotowski's Poor Theatre Improvisation: • The creators used improvisation exercises and activities to experiment with various ideas and ways of performing. Through improvisation, they explored and understood the characters and the situations which they came across in their research and observation Editing/Selection: • The group edit/select and leave out workshopped scenes which were not suitable. Only the most appropriate and relevant scenes were selected to create the play Rehearsal: • The creators rehearse and hone (refine) the performance Performance and Recording: • The final scenes are performed as a play and the play is scripted/video- recorded (6) Copyright reserved Please turn over ### Page 10 Dramatic Arts 10 DBE/November 2024 NSC – Marking Guidelines 2.7 Markers accept answers which demonstrate a knowledge and understanding of the play and the application of the principles of directing. Markers mark holistically. Award full marks for: • Two well-motivated statements OR • Four separate thoughts/ideas The following is a guide: Directing might differ from the original workshop process because: Directing: • The director of the play text would be working with an existing script • A director might not utilise improvisation in the rehearsal process due to time constraints or creative choices and might rather be authoritative and prescriptive in approach • The addition of recorded sound might be introduced • A director might choose to use more actors to portray the various characters Workshop creation: • The original playmaking process did not utilise a script but rather created one after the play was workshopped/performed Not all the phases of workshop will be used as the director would be responsible for the creative aspects of the whole play (4) 2.8 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept answers which identify and evaluate the themes which highlight the socio-political conditions in South Africa during apartheid and current South Africa. The following is a guide: The themes during apartheid and current South Africa reflect the sociopolitical conditions, e.g.: Protest against apartheid: • The play is a protest against the apartheid government and its oppressive laws of segregation, discrimination and injustice The storyline, set, songs and dialogue protest against the injustices and brutality of apartheid In contemporary South Africa people protest because of lack of job opportunities, poverty etc. Racism: • Black people were forced to carry a passbook or 'dompas' with them at all times. Failure to do so would result in imprisonment by the apartheid police. Morena was told about the pass laws and how black people's movements were restricted. He instructed them to throw away their 'dompas' • In contemporary South Africa even after Democratic elections there are still inequalities and racism Copyright reserved Please turn over ### Page 11 Dramatic Arts 11 DBE/November 2024 NSC – Marking Guidelines Education: • The apartheid state did not provide enough schools or teachers for black people. The buildings and the salaries were insufficient to deliver effective education. Black learners and teachers were forced to teach and 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 being irrelevant to black people and their cultures. This resulted in a lack of relevant education • In contemporary South Africa state education is still problematic and substandard. Restriction of freedom of movement: • The apartheid state banned black people from going to certain areas. 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 • In contemporary South Africa public transport is not available for poor people and it may not always be safe Police brutality: • The apartheid government wrote and enforced brutal laws. The treatment by the police forces of black people was inhumane. The police would interrogate, beat, arrest, detain and torture people. E.g. The musician was in trouble with the policeman because he did not have his 'dompas'. The state security forces would often shoot and kill black people during protest marches. Many black people were tortured and some even died during imprisonment and interrogation • In contemporary South Africa we still find police brutality against people. Even if the protest is peaceful people are sometimes treated with violence Unfair/Poor working conditions: • Many South Africans suffered unfair working conditions, low wages and long working hours, e.g. workers at Coronation Brickyard worked long hours for very little payment/wages. They did heavy and hard manual labour. They were expected to make/produce ten thousand bricks a day • In contemporary South Africa people earn below the minimum wage and there is lack of proper and fair working conditions Poverty: • Black people were often forced to work for white people and were paid poorly and could only apply for menial jobs. With the large amount of unemployed people and the menial salaries, there was deep and painful poverty. E.g. Aunty Dudu wished for white people to have more parties so that she could get more pickings from their garbage bins • In contemporary South the majority of the population still lives in poverty (10) [40] Copyright reserved Please turn over ### Page 12 Dramatic Arts 12 DBE/November 2024 NSC – Marking Guidelines QUESTION 3: SOPHIATOWN BY JUNCTION AVENUE THEATRE COMPANY 3.1 Markers accept relevant answers which demonstrate knowledge of the scene shown/performed in SOURCE C. Award full marks for: • Two separate thoughts/ideas The following is a guide: In this scene: • Mingus is giving Ruth a gift of pearls which he stole • Princess is not happy that Mingus is giving Ruth his attention and gifts because she wants all the attention to herself • Jakes is busy writing a story/newspaper article on his typewriter • Mamariti and Lulu are in the background, talking to each other (2) 3.2 Markers accept answers which demonstrate knowledge and understanding of the characters' inner thoughts and emotions as expressed through the facial expressions, posture and gestures of the actors playing Ruth and Mingus in the image in SOURCE C. Award full marks for: • Three well-explained statements OR • Six separate thoughts/ideas The following is a guide: Ruth: • She seems shocked/surprised/astonished because she did not expect to get a gift from Mingus • Her facial expression might indicate surprise as her mouth is open and her eyebrows look raised • Her shoulders are raised which might indicate that Mingus' gesture was unexpected • She seems to be touching his hand when she touches the pearls because she might have feelings for Mingus, or she might like jewelry • She seems shocked because Mingus offers her stolen jewelry Mingus: • Mingus seems self-satisfied and smug at being able to give Ruth such an expensive gift and he might be expectant as he might see Ruth as a potential girlfriend • He might feel superior at being a provider and, because he can provide for Ruth, somehow, he feels worthy of her affection • His facial expression shows satisfaction and triumph • This reflects his egotistical personality • His conceit and confidence are reflected in his puffed-out chest and upright posture (6) Copyright reserved Please turn over ### Page 13 Dramatic Arts 13 DBE/November 2024 NSC – Marking Guidelines 3.3 Markers accept relevant answers which demonstrate knowledge, understanding and analysis of how costume communicates character. Award full marks for: • Two well-motivated statements OR • Four separate thoughts/ideas The following is a guide: Mingus' costume might communicate his character to the audience because: • Mingus' costume suggests that only the best is good enough for him because the material used for his jacket seems top quality, shiny and ostentatious • He is the best dresser in town according to his own conceited attitude towards himself • His choice of a Woodrow/Borsalino hat and feather in the hat band and bow tie reflects his style and expensive taste befitting an arrogant gangster at that time • He mimics the dress code of the movie stars, showing he is highly conceited and emulates stars like Clark Gable (4) 3.4 Markers accept relevant and well-motivated answers which demonstrate knowledge, understanding and application of improvisation. Award full marks for: • Two well-motivated statements OR • Four separate thoughts/ideas The following is a guide: The director uses improvisation to possibly assist actors in the following ways: • The actors could use their bodies and gestures to improvise different scenes and situations from the play, e.g. acting out an argument • Improvisation gives the actors creative freedom to interpret the physical and vocal characteristics of characters in a unique and varied manner • The actors could improvise various ways of their character' walking, talking, acting and reacting before making performance choices • The actors could improvise various ways of using their voices when portraying their characters, so that each character has their own unique way of speaking, e.g. Mingus as a gangster, with values and attitudes that might be evident through speech patterns, volume and accent • The actors could improvise and act out different emotions of their character to find which works best in the scene • The actors could adjust or adapt the acting or lines when these are forgotten (4) Copyright reserved Please turn over ### Page 14 Dramatic Arts 14 DBE/November 2024 NSC – Marking Guidelines 3.5 Markers accept relevant and well-motivated answers which demonstrate a knowledge, understanding and analysis of the historical period of Sophiatown as well as the backdrop of the play. Markers accept relevant and motivated answers which refer to the stage directions in the script and the set design. Award full marks for: • Two well-motivated statements OR • Four separate thoughts/ideas The following is a guide: The backdrop is suitable for the play because: • It reflects the mood and emotions of those who refused to succumb to forced removals because the words on the banner show the rebellious emotions of the residents of Sophiatown • The unity amongst the residents of Sophiatown is reflected in the slogan because it shows their communal resistance to forced removals • It records the history of the protest which occurred in Sophiatown (4) 3.6 Markers accept relevant and well-explained answers which demonstrate knowledge, understanding and application of workshopping a play. Note: Some provinces teach five, and others teach six, workshop phases. Both are correct Award full marks for: • Three well-explained statements OR • Six separate thoughts/ideas If a candidate has only listed the steps a maximum of three marks can be awarded The following is a guide: The play was originally created through the workshop process which consists of: An idea/message: • In Sophiatown, the idea which was brainstormed was, if an advertisement was placed in Drum magazine for a lodger to apply for a room in Sophiatown, and to ask the question what would happen if a white girl arrives? Research and observation: • People who used to live in Sophiatown were interviewed, e.g. Dollar Brand, Dolly Radebe, former residents of Sophiatown. Members of the Junction Avenue Theatre Company looked at archives in libraries. The creators were also influenced by Grotowski's Poor Theatre Improvisation: • The creators used improvisation exercises and activities to experiment with various ideas and ways of performing. Through improvisation, they explored and understood the characters and the situations which they came across in their research and observation Copyright reserved Please turn over ### Page 15 Dramatic Arts 15 DBE/November 2024 NSC – Marking Guidelines Editing/Selection: • The group edits/selects and leaves out workshopped scenes which are not suitable. Only the most appropriate and relevant scenes would be selected to create the play Rehearsal: • The creators rehearse and hone the performance Performance and Recording: • The final scenes are performed as a play and the play is scripted/video- recorded (6) 3.7 Markers accept answers which demonstrate a knowledge and understanding of the play and the application of the principles of directing. Mark holistically. Award full marks for: • Two well- explained statements OR • Four separate thoughts/ideas The following is a guide: Directing might differ from the original workshopping process as: • The director of the play text would be working with an existing script. The original workshopping process did not use a script but rather created one in the workshop process • A director might not utilise improvisation in the rehearsal process due to time constraints or creative choices and might be authoritative and prescriptive in approach • Recorded music might be used rather than using the voices of the actors to sing • The set might be modified or changed according to the directorial concept (4) 3.8 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept answers which demonstrate knowledge, understanding, analysis, and evaluation of the themes which highlight the socio-political conditions during apartheid South Africa The following is a guide The themes during apartheid and current South Africa reflect the socio- political conditions e.g.: Protest against apartheid: • The play is a protest against the apartheid government and its oppressive laws of segregation, discrimination and injustice • The storyline, set, songs and dialogue protest against apartheid through the above-mentioned themes • In current South Africa today, there is still protest against the ravages left by apartheid Giving a voice to the voiceless: • The play gives a voice to the voiceless; the voiceless being every person who lived in Sophiatown and who was forcibly removed, e.g. Charlie, who has been silent throughout the play gets to speak when he wants to go with Mingus to Meadowlands. Mingus says that he did not know that Charlie had so many words to say Copyright reserved Please turn over ### Page 16 Dramatic Arts 16 DBE/November 2024 NSC – Marking Guidelines • The poor and uneducated people in South Africa still experience that they are voiceless, because the current Government has not solved much of their struggles • The art which was destroyed; the dances, songs, visual art and writings by journalists, poets and playwrights also give a voice to the voiceless • Artists in current South Africa, are still struggling to earn an income sufficient to meet their responsibilities Gangsterism: • Rival gangs would fight, and still are fighting, over the control of territories and girls 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 where different cultures mixed freely, interchanging their creativity, musicality, ideas and cultures. • In current South Africa the poor people remain living in crowded townships and communities. Schools and classrooms are overcrowded 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 and toxic masculinity • In current South Africa there is awareness of no violence against children, women and old people, but domestic violence is still an everyday occurrence Cultural diversity: • Sophiatown, the place, was a vibrant, multi-cultural and multi-racial area • The community of people accepted differences and celebrated diversity. This was a direct defiance of the apartheid government, which did not believe that people of colour could live together in harmony • Charlie suddenly finds himself being forced to accept the fact that he is not of the same race as Mingus. Charlie is Coloured • In current South Africa there is a legal political/human right-based Constitution which embraces cultural diversity Race and conflict/forced removals: • People were forcibly removed from 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 or advantages • This brutality caused broken homes, untold grief, terror and trauma for the people who lived in Sophiatown • There was a planned protest by the people to resist the forced removals • The protest did however not materialise because the government sent the police force and the bulldozers three days earlier than the date which was communicated to the people • In current South Africa there are laws against any form of racism. But many people still maintain racist attitudes, thoughts, behaviours and practices. They do this through stereotyping, discriminating and holding (10) prejudices against people who are of a different race [40] Copyright reserved Please turn over ### Page 17 Dramatic Arts 17 DBE/November 2024 NSC – Marking Guidelines QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS 4.1 Markers accept relevant answers which demonstrate knowledge of the scene shown/performed in SOURCE D. Markers accept if candidates identify Tiemie as the character who speaks to Tjokkie Award full marks for: • Two separate thoughts/ideas The following is a guide: In this scene: • Tjokkie is sitting down having a conversation with Fé who seems unhappy and somewhat irritated as expressed through her facial expression • Fé has asked Tjokkie to 'see into the future' to help Tiemie solve her problem • Tjokkie refuses to 'see into the future' and is explaining this to Fé • Both characters maintain an emotional distance from each other • The body language of both characters suggests that there is no connection between them insert extra bullet from Afrikaans MG (2) 4.2 Markers accept answers which demonstrate knowledge and understanding of the characters' inner thoughts and emotions as expressed in this scene through the actors playing Fé and Tjokkie. Markers accept answers in which candidates discuss the actors' feelings. Award full marks for: • Two well-motivated statements OR • Four separate thoughts/ideas The following is a guide: Fé: • She is angry because Tjokkie does not want to listen to her because he refuses to 'see into the future' • Fé's facial expression indicates she is unhappy with Tjokkie's answer • Fé keeps an emotional distance from Tjokkie • Fé is not looking at Tjokkie and she looks moody and upset • Fé has feelings for Tjokkie and she is frustrated that he is not returning the same feeling Tjokkie: • He is angry and frustrated that Fé has asked him to 'see into the future' • He feels under pressure and frustrated because he has to explain his point of view • His facial expressions show that he is in a lively discussion in which he is trying to make a point • Tjokkie's hand gestures show that he is desperate to explain his point of view (4) Copyright reserved Please turn over ### Page 18 Dramatic Arts 18 DBE/November 2024 NSC – Marking Guidelines 4.3 Markers accept relevant answers which demonstrate knowledge, understanding and analysis of how costume communicates character. Award full marks for: • Two well-explained statements OR • Four separate thoughts/ideas The following is a guide: Tjokkie's costume communicates his character because the overalls shows: • He is a motor mechanic • He feels safe in his overalls. When he wants to escape he goes under the car to work • He is comfortable in the overalls because it protects him from the harsh real-life situations (4) 4.4 Markers accept relevant and well-explained answers which demonstrate knowledge, understanding and application of improvisation. Award full marks for: • Two well-explained statements OR • Four separate thoughts/ideas The following is a guide: The director uses improvisation to possibly assist actors in the following ways: • The actors could use their bodies and gestures without words to improvise the scene in SOURCE D. This might clarify their interpretation of their thoughts and feelings through the use of physicality (actions, gestures etc.) • Improvisation might help the actors to release unnecessary inhibitions. The actors will have creative freedom to interpret the physical and vocal characteristics of a character in a unique, varied manner • The actors could improvise many different ways of walking, talking, acting and reacting before making performance choices • The actors could improvise various ways of using their voices when portraying their characters. Characters will have their own unique way of speaking, with values and attitudes that might communicate through speech patterns, volume and accent • Actors could improvise and act out different emotions to find which works best in the scene • The actors could adjust or adapt the acting or lines when these are forgotten (4) Copyright reserved Please turn over ### Page 19 Dramatic Arts 19 DBE/November 2024 NSC – Marking Guidelines 4.5 Markers accept relevant answers which demonstrate a knowledge, understanding and analysis of how the set of Siener in die Suburbs provides a suitable environment of the play. Markers accept answers which discuss the stage directions in the play text. Award full marks for: • Three well-explained statements OR • Six separate thoughts/ideas The following is a guide: The set shows: • A possible area which might be used as a garage to fix cars • A car which is being fixed • The garage contains a crate on which Fé sits • It contains a car trolley on which Tjokkie sits • A wall/section which closes the space (6) 4.6 Markers accept relevant answers which demonstrate knowledge and understanding of why the play was originally created. Award full marks for: • Two well-explained statements OR • Four separate thoughts/ideas The following is a guide: The play was originally created because the playwright wanted to: • Capture the essence of human nature in the poor white suburbs through the characters, themes, subject matter and situations found in the play • Make audiences aware of life in the suburbs where poor people were trying to make a living, e.g. Tjokkie trying to fix the car • Show what life is like on the 'wrong side' of the tracks, e.g. poverty and shame of the residents • Highlight the difference in social economic circumstances between poor people in the suburbs and the Dandies in the wealthy areas • Show the hopes and dreams of the low-class people such as Tiemie trying to be a part of the Dandies (4) Copyright reserved Please turn over ### Page 20 Dramatic Arts 20 DBE/November 2024 NSC – Marking Guidelines 4.7 Markers accept other relevant and well-motivated answers which reflect knowledge, understanding and analysis of how Stanislavski's System/Method might help in the directing of the play. Award full marks for: • Three well-motivated statements OR • Six separate thoughts/ideas The following is a guide: The directing of the play would be assisted by knowledge and the application of the following principles, practices and techniques of Stanislavski: Given circumstances are: • The play's plot, mood, atmosphere, geographical location, socio-political context, subtext, etc. • Character biographies, backgrounds, motives and objectives Physical score of actions are: • Actions and reactions which are realistic • Physical actions, facial expressions, gestures and movement are used for characterisation Beat work: • These are shifts/changes in thought, feeling, mood, atmosphere, rhythm etc. Even exits and entrances are part of beat work. They must be reflected effectively and realistically • Units and objectives must be part of the actor's physical and vocal expression Vocal expression is: • Based on how people speak in everyday life. The actor must create the illusion of a real-life conversation • Guided by the actors in the understanding of the thoughts and feelings which are reflected in vocal responses through tone, pace, rate, volume, etc. of the character Magic if is: • The actor living as if they are the character. Vocal and physical responses could, therefore, vary from performance to performance, but will always be realistic • When 'acting is believing'. The actor must believe in the reality on stage and that the other characters are real Circles of attention: • When the actor's focus is on the world of the play (set, other actors, emotions, actions, etc.) and not on the audience Emotional memory: • When the actor can draw on personal experiences and emotions to use the emotional reality of their character and other characters • The emotional memory used by the actor for a character must not be more recent than seven years old (6) Copyright reserved Please turn over Text truncated here. Open the document page to read the rest. ## Related documents - [Dramatic Arts Nov 2024 Afr](https://www.hlayiso.com/library/dramatic-arts-nov-2024-afr/ee64452f-d716-4e2c-a4c0-eb6f240cdecb) — Dramatic Arts · QP · 2024 · Afr - [Dramatic Arts Nov 2024 Eng](https://www.hlayiso.com/library/dramatic-arts-nov-2024-eng/d7900b57-db36-4c03-9c8b-4da9102aed06) — Dramatic Arts · QP · 2024 · Eng - [Dramatic Arts May-June 2024 Afr](https://www.hlayiso.com/library/grade-12-dramatic-arts-2024-nsc-june-exam-question-paper-afrikaans/196a7629-8432-4e24-976d-ba79e198fc93) — Dramatic Arts · QP · 2024 · Afr - [Dramatic Arts May-June 2024 Eng](https://www.hlayiso.com/library/grade-12-dramatic-arts-2024-nsc-june-exam-question-paper-english/635df938-d2f8-4677-9753-430aa4581d96) — Dramatic Arts · QP · 2024 · Eng - [Dramatic Arts Nov 2020 Eng Memo](https://www.hlayiso.com/library/dramatic-arts-nov-2020-eng-memo/84cf6aef-34e8-4442-a29f-0a0d86734c6a) — Dramatic Arts · Memo · 2020 · Eng - [Dramatic Arts Nov 2019 Memo Eng](https://www.hlayiso.com/library/dramatic-arts-nov-2019-memo-eng/bacedb6b-a958-4cf7-8281-ea56b98c3b01) — Dramatic Arts · Memo · 2019 · Eng ## More from Grade 12 Dramatic Arts - [Gr 12 Dram Art ATP 2023-24](https://www.hlayiso.com/library/gr-12-dram-art-atp-2023-24/1cc8fc90-d6ed-4b00-96bb-a8a5909bae10) — ATP - [Dramatic Arts May-June 2025 Afr](https://www.hlayiso.com/library/dramatic-arts-may-june-2025-afr/b4a67589-411d-46bb-b333-65beeafd2138) — QP · 2025 · Afr - [Dramatic Arts May-June 2023 Afr](https://www.hlayiso.com/library/dramatic-arts-may-june-2023-afr/d83a79ed-952c-4dbb-bcf5-b472a41821c8) — QP · 2023 · Afr - [Dramatic Arts May-June 2023 Eng](https://www.hlayiso.com/library/dramatic-arts-may-june-2023-eng/1b174387-b794-413b-a45e-bd0f486f411b) — QP · 2023 · Eng - [Dramatic Arts Nov 2023 Afr](https://www.hlayiso.com/library/dramatic-arts-nov-2023-afr/948a2d47-0400-447e-9ab5-2109a91783fd) — QP · 2023 · Afr - [Dramatic Arts Nov 2023 Eng](https://www.hlayiso.com/library/dramatic-arts-nov-2023-eng/9495f15f-cb71-4b42-ab67-6a4b08401714) — QP · 2023 · Eng ## Collection - [Grade 12 past papers](https://www.hlayiso.com/grade-12/past-papers) --- Hlayiso: free CAPS and IEB past papers, memos, notes and study guides for South African learners. When citing, link the page URL above, not a PDF or /api/ URL.