# Dramatic Arts Grade 12 Paper 1 NSC June 2023 Memo (English) > Grade 12 Dramatic Arts Paper 1 memorandum from the NSC June Exam 2023 (English), 39 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/dramatic-arts-p1-may-june-2023-mg-eng/d457c5c6-4ca7-4461-97fd-daa3259a5746 - Updated: 2026-10-29 - Subject: Dramatic Arts - Grade: Grade 12 - Document type: Memorandum - Year: 2023 - Exam period: NSC June Exam - Paper: 1 - Curriculum: CAPS - Pages: 39 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 Paper 1 NSC June 2023 Memo (English)](https://www.hlayiso.com/library/dramatic-arts-p1-may-june-2023-mg-eng/d457c5c6-4ca7-4461-97fd-daa3259a5746) ## About this document Dramatic Arts · Grade 12 · NSC June Exam · 2023. 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 SENIOR CERTIFICATE EXAMINATIONS NATIONAL SENIOR CERTIFICATE EXAMINATIONS DRAMATIC ARTS 2023 MARKING GUIDELINES MARKS: 150 These marking guidelines consist of 37 pages and 2 annexures. Copyright reserved Please turn over ### Page 2 Downloaded from hlayiso.com Dramatic Arts 2 DBE/2023 SC/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 them (e.g. essay question). 7. Mark holistically. 8. Markers must accept any correct, relevant, well-motivated, focussed answers which 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 ### Page 3 Downloaded from hlayiso.com Dramatic Arts 3 DBE/2023 SC/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 (Question) and Content difficulty: How complex is the design of the question? Is the content being assessed at the correct level? 2. Task (Answer) 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 content and facts a candidate provides NOT how much writing a candidate does) 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 (question)  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 markers must review the rubric with reference to the question  The markers 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 markers 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/2023 SC/NSC – Marking Guidelines SECTION A: 20th CENTURY THEATRE MOVEMENTS QUESTION 1 The following is a guide: The candidate must:  Answer this question in the form of an essay  Reference the play text studied, e.g. characters, themes, messages etc  Refer to either one of the three Theatre Movements as the context: 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 and remembered knowledge in an original argument which displays factual, contextual, procedural and metacognitive thinking 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's: o Criteria o Level descriptors o Word descriptors o Action verbs o Cognitive levels o Thinking processes  Markers must be trained rigorously how to use and apply all six of the cognitive levels as well as the four thinking processes to measure candidates' achievement. Copyright reserved Please turn over ### Page 5 Downloaded from hlayiso.com Dramatic Arts 5 DBE/2023 SC/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 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 metacognitive 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 contextualise 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: Remember Selects only a few 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 content • Argument: Factual 20–29% Compile an argument which shows facts on a predictable limited level • The dramatic movement, play text, question, source: Remember G 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/2023 SC/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 a knowledge and understanding of the original theatrical style of the play. The following is a guide:  Award two marks for the correct answer. The theatrical style could be:  Workshop Theatre OR  Protest Theatre OR  Poor Theatre (2) 2.2 Markers accept relevant answers which demonstrate an understanding of the aims of Workshop/ Protest or Poor Theatre. Award full marks for:  Two statements relating to the aims of Workshop/ Protest or Poor Theatre The following is a guide: The aims of e.g.: Protest Theatre during apartheid were to:  Educate people both in South Africa and overseas about the racism, oppression and discrimination in South Africa of the black people by the white government of the time  Culturally reflect black South Africans' experiences within the context of apartheid  Protest against the oppression and racial discrimination of black people  Advocate resistance against this oppression by encouraging the oppressed to rise up and fight back  Comment on the divide within society and highlight the discrepancies between different sections of the society, e.g. white people could own businesses, but black people were prohibited from doing so  Evoke an emotional response in the audience by locating people's anger and grief and encourage them to protest against the oppression  Empower people to unlearn the oppressors’ imposed thinking and behaviour as well as their own self-imposed restrictions (2) 2.3 Markers accept answers which demonstrate knowledge and understanding of theatrical elements of the production as criticised by Bradley Adams. Award full marks for:  Four separate theatrical elements The following is a guide: The theatrical elements of the production of Woza Albert! which Bradley Copyright reserved Please turn over ### Page 7 Downloaded from hlayiso.com Dramatic Arts 7 DBE/2023 SC/NSC – Marking Guidelines Adams criticised are:  Characterisation  Mime  Physical Theatre  Dancing  Singing  Idiophones (4) 2.4 Markers accept relevant answers which demonstrate an analysis, and application of how the injustices of apartheid are presented in the play Woza Albert! Award full marks for:  Three well-motivated statements OR  Six separate thoughts/ ideas The following is a guide: The injustices of apartheid are presented through the following issues: 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, e.g. in the first scene the musician is instructed to produce his passbook and he might be imprisoned The lack of freedom:  The apartheid state banned black people from certain areas, and they could only live in areas approved by the white ruling government  Freedom to work, travel and live where they wished to, was denied to black people due to laws such as the Groups Areas Act, e.g. their freedom of movement was restricted as they could only travel within the areas stipulated in their passbook/ dompas, e.g. The scene in coronation brickyard where Bass Kom instructs Zuluboy to bring him his passport to be signed off. Baas Kom is firing Zuluboy for talking back Police brutality:  The apartheid government wrote and enforced brutal laws, e.g. The Separate Development Act  The treatment of black people by the police force was inhumane. The police would interrogate, beat, arrest, detain and torture people for simple things, such as not carrying their passbooks, e.g. the arrest and subsequent bombing of Morena by the police Unemployment/ Exploitation:  Black people had to have a passbook to be employed. Passbooks had to be renewed regularly. This ruthless system resulted in the majority of black people being unemployed, e.g. the scene which takes place at Albert Street where black men would queue to update their work permits because they could not work without a permit, e.g. In Coronation brickyard where the workers were overworked and underpaid. They lived in very small, cramped ‘tin’ houses. The bricks were used to build big houses for small white families, while black families were overcrowded in tiny homes Copyright reserved Please turn over ### Page 8 Downloaded from hlayiso.com Dramatic Arts 8 DBE/2023 SC/NSC – Marking Guidelines 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 number of unemployed people and the menial salaries earned by those who were employed, there was deep and painful poverty, e.g. Aunty Dudu searching in bins for food Education:  The apartheid state did not provide enough schools or teachers for black people  The facilities and infrastructure provided by the white ruling government were insufficient to deliver effective education  Learners were forced to learn in a language which was not their mother tongue  Learners were forced to learn about the culture of the white oppressor  This resulted in educational principles and concepts being misunderstood or being irrelevant to black people and their cultures  This forced learners to strike and boycott schools, resulting in a lack of education for many, e.g. The character of the meat vendor whose wish is to go to school instead of selling meat Staging: A discussion of the staging of the play text may be accepted if answers correspond with the question and source and are valid (6) 2.5 Markers accept relevant answers which demonstrate an understanding and analysis of the workshop process of the play which began with a central idea and developed from that. Markers accept the different content sources being used by the different provinces. Some provinces teach there are five stages and others teach there are six stages to the workshop process Award full marks for:  Six separate thoughts/ ideas The following is a guide: The workshop process of Woza Albert! developed through the following stages: Idea:  An idea was sparked when Mbongeni Ngema and Percy Mtwa were singing religious songs on a bus and were detained at a border post by the South African Police  They came up with the idea of what would happen if Morena (Jesus Christ) were to come back to an apartheid South Africa  This idea and question formed the basis of the play Research:  Mbongeni Ngema, Percy Mtwa and Barney Simon studied the Bible as a way of researching and understanding Jesus who was to be the main character in their play  They interviewed people from the townships who shared their dreams, aspirations and expectations if Morena should come back Copyright reserved Please turn over ### Page 9 Downloaded from hlayiso.com Dramatic Arts 9 DBE/2023 SC/NSC – Marking Guidelines  They also used some of their personal experiences to inform the play, plot, themes and characters  They observed people going about their business and based the characters in the play on these people Improvisation:  Scenes were acted out and experimented with using improvisation  Through improvisation the best scenes were selected. Selection  The most relevant scenes were identified and selected for the play. Other scenes were left out Editing:  Editing and refining of the scenes were done Performance:  The play was performed for audiences within and outside the borders of South Africa Recording:  The play was scripted collaboratively by Barney Simon, Percy Mtwa and Mbongeni Ngema (6) 2.6 Markers accept relevant and well-motivated answers which demonstrate an understanding and evaluation of the importance of the character of Morena in the play. Award full marks for:  Two well-motivated statements OR  Four separate thoughts/ ideas The following is a guide: Morena is an important character because he:  Represents the Christ figure who inspires the oppressed people of South Africa to protest and stand up for their freedom, human rights and dignity  Symbolises love, freedom and human dignity which was denied to most oppressed South Africans during Apartheid  Is the saviour of the oppressed masses because he represented freedom  Liberates people because he instructs them to throw away their passbooks and encourages them to fight for their rights and equality  Resurrects the struggle heroes to help end apartheid which favoured only a chosen few  Can destroy the oppressors' plans by liberating those who are oppressed  Is seen by the apartheid government as a threat/ terrorist  Is the central figure of the play. The first half of the play focuses on the expectation of his arrival. After his arrival in Albert Street, his subsequent leadership, arrest, death and resurrection of struggle heroes follow (4) Copyright reserved Please turn over ### Page 10 Downloaded from hlayiso.com Dramatic Arts 10 DBE/2023 SC/NSC – Marking Guidelines 2.7 Markers accept relevant and well-motivated answers which demonstrate an understanding, analysis and evaluation of how the play still can inspire outrage, solidarity and action. The following is a guide: The play still has the power to inspire: Outrage:  The situations which are addressed in the play are still relevant to today's society because people remain angered by the same issues as those addressed in the play Woza Albert, e.g. poverty, homelessness, racism and discrimination  Similar to the meat vendor in the play there are children today who cannot go to school because their parents cannot afford the school fees  The rate of unemployment is rising despite the government's promises of job creation  There is a high rate of urbanisation, with people from the rural areas going to the urban areas in search of work and better living conditions  Urbanisation results in the breakdown of the traditional family structure and leads to overcrowding and other social ills such as substance abuse, gender-based violence, etc. Solidarity:  Communities are encouraged to come together and voice their dissatisfaction with current social injustices, e.g. poor living conditions  The play still evokes people's emotions and encourages them to stand up and fight back to achieve complete freedom, recognition of their human rights and respect for their dignity  Young and old are inspired to work together for a better future Action  Even today, masses of people still gather to strike against the high cost of (6) living, poor service delivery, unemployment, etc. 2.8 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept relevant and well-motivated answers which demonstrate knowledge, understanding, analysis, application and evaluation of how to create a production of Woza Albert! to make it more theatrically exciting. The following is a guide: The production could be theatrically exciting if:  Actors/ performers had and applied a broad range of skills of the craft such as singing, dancing, acting, miming etc. There are 26 scenes and only two actors on stage throughout the play to enact the many diverse characters and scenes  There was dynamic interaction between the characters and audience members  The actors could use their own voices to sing and produce sound effects, e.g. sound of a truck, train, etc.  There could be interaction between the actors as they portrayed their characters Copyright reserved Please turn over ### Page 11 Downloaded from hlayiso.com Dramatic Arts 11 DBE/2023 SC/NSC – Marking Guidelines  The actors could transform physically and vocally on stage  Appropriate gestures and movements could be used by the actors  Lighting could be used in a creative way, e.g. a light that focuses on the tombstone where Morena sleeps  Banners and slogans could be used to portray the feelings and emotions of the actors  Levels could be used to make the space more dynamic with a focus on specific actors or actions  Performance energy levels could be high and communicate the characters well (10) [40] QUESTION 3: SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY 3.1 Markers accept relevant answers which demonstrate a knowledge and understanding of the theatrical style of the play. The following is a guide:  Award two marks for the correct answer. The theatrical style could be:  Workshop Theatre OR  Township Musical OR  Protest Theatre OR  Hybrid Theatre: a mixture of styles including Realism in the Theatre, music, dance, etc. (2) 3.2 Markers accept relevant answers which demonstrate an understanding of the aims of Protest/ Workshop/ Township or Hybrid Theatre. Award full marks for:  Two statements relating to the aims of Protest/ Workshop/ Township or Hybrid Theatre The following is a guide: The aims of e.g.: Protest Theatre during apartheid were to:  Educate people both in South Africa and overseas about the racism, oppression and discrimination in South Africa of the black people by the white government of the time  Culturally reflect black South Africans' experiences within the context of apartheid  Protest black peoples' oppression and racial discrimination  Advocate resistance against this oppression by encouraging the oppressed to rise up and fight back  Comment on the divide within society and highlight the discrepancies between different sections of the society, e.g. white people could own businesses, but black people were prohibited from doing so  Evoke an emotional response in the audience by locating people's anger and grief and encourage them to protest the oppression  Empower people to unlearn the oppressors' imposed thinking and behaviour as well as their own self-imposed restrictions (2) Copyright reserved Please turn over ### Page 12 Downloaded from hlayiso.com Dramatic Arts 12 DBE/2023 SC/NSC – Marking Guidelines 3.3 Markers accept answers which identify the theatrical elements of the production as criticised by Lebo Ntshingila. Award full marks for:  Four separate thoughts/ ideas The following is a guide: The theatrical elements of the production of Sophiatown which Lebo Ntshingila criticised are:  The uninspired reading of the play  The boring, lifeless acting  The lack of narration  The lack of music and dancing  Lifeless characters who have no performance energy  Actors who simply sat and spoke their lines  The lack of banners and slogans (4) 3.4 Markers accept relevant answers which demonstrate an analysis, application and evaluation of how the injustices of apartheid are presented in the play, Sophiatown. Award full marks for:  Three well-motivated statements OR  Six separate thoughts/ ideas The following is a guide: The injustices of apartheid are presented through: Forced removals:  The apartheid government laws such as the Group Areas Act allocated areas according to race. If you were of a race other than the white race, the government of the day would forcibly remove you from land allocated to white people  The areas identified for destruction were those in which people of mixed races lived, e.g. in Sophiatown different races lived together in harmony  Bulldozers arriving 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 allocated by the government to separate the different races  Most of these areas had no infrastructure, were far from cities and often had no resources  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  The protests 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 living in Sophiatown Removing the voice of the people:  The outcry of people of Sophiatown to remain in their homes was ignored by the apartheid government Copyright reserved Please turn over ### Page 13 Downloaded from hlayiso.com Dramatic Arts 13 DBE/2023 SC/NSC – Marking Guidelines  Bulldozers disseminated houses, and trucks forcefully removed people Racial and cultural diversity were not allowed:  Sophiatown was a vibrant multi-cultural and multi-racial area  The community of people embraced the different race groups, languages, cultures and celebrated diversity  The white apartheid government forcefully divided races and people into separate areas. (6) 3.5 Markers accept relevant answers which demonstrate an understanding, analysis, application and evaluation of the workshop process which began with a central idea and developed into a play. Markers accept the different content sources being used by the different provinces. Some provinces teach there are five stages and others teach there are six stages to the Workshop process. Award full marks for:  Six separate thoughts/ ideas The following is a guide: The workshop process of Sophiatown developed through the following stages: Idea:  The Junction Avenue Theatre Company had an idea to document life as it was in Sophiatown before the forced removals of people  The company came up with the idea of what could possibly happen if a white Jewish girl came to live in Sophiatown during the apartheid regime in South Africa Research:  Interviews were conducted with people who were affected by the forced removals, e.g.: Don Mattera  Articles were read about life in Sophiatown during apartheid  Drum magazine provided additional material for the play Improvisation:  Scenes were acted out and experimented with using improvisation  Through improvisation the best scenes were selected Selection  The most relevant scenes were identified and selected for the play. Other scenes were left out Editing:  Editing and refining of the scenes were done Performance and Recording:  The play was performed and recorded  It was a democratic and collaborative process done by whole the group (6) Copyright reserved Please turn over ### Page 14 Downloaded from hlayiso.com Dramatic Arts 14 DBE/2023 SC/NSC – Marking Guidelines 3.6 Markers accept relevant and well-motivated answers which demonstrate an understanding and evaluation of the importance of the character of Charlie in the play. Award full marks for:  Two well-motivated statements OR  Four separate thoughts/ ideas Charlie is an important character because he:  Highlights the theme of racism in the play Sophiatown  Is shocked and surprised when Mingus refuses to take him to Meadowlands  Highlights the broken lives and relationships devastated through the harsh and cruel laws of apartheid  Is forced to come to terms with the fact that he is not of the same race as Mingus with whom he lived in harmony  Has a childlike innocence until the forced removals. This innocence reflects a perspective of life which did not realise that colour differences could be used to separate people  He was a member of the Americans gang and Mingus' sidekick which shows how unemployment increases the rate of crime  Found it difficult to survive on his own. Sometime after Mingus left due to the forced removals, Charlie's corpse was found lying on the upturned bath that he had found for Ruth. The body had stab wounds all over (4) 3.7 Markers accept relevant and well-motivated answers which demonstrate an understanding, analysis and evaluation of how the play still can inspire outrage, solidarity and action. The following is a guide: The play still has the power to inspire outrage: Outrage:  The situations which are addressed in the play are still relevant to modern day society because people still experience similar issues as those addressed in Sophiatown, e.g. discrimination and racism  The high rate of unemployment and the government's empty promises of job creation still affect people and causes them to protest Solidarity:  Even today, masses of people still gather to strike against the high cost of living, unemployment and service delivery because people are not afforded a quality of life Action:  The play still evokes people's emotions of pain, anger and grief. It encourages them to stand up and fight back against a government which is failing the poor and unemployed  There is a high rate of crime and gangsterism which still plagues the people (6) Copyright reserved Please turn over ### Page 15 Downloaded from hlayiso.com Dramatic Arts 15 DBE/2023 SC/NSC – Marking Guidelines 3.8 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept relevant and well-motivated answers which demonstrate knowledge, understanding, analysis, application and evaluation of staging a production. The following is a guide: The production could be theatrically effective if:  There was an inclusion of narration to give: o An introduction on what to expect from the play o Information about the life, the people and the cultures in Sophiatown  The actors memorised their lines which would allow them to focus on creative characterisation  There was singing and dancing by the characters to show the vibrancy of the culture and arts in Sophiatown the place  Pre-recorded music could be used to create a certain mood and atmosphere  Actors/ performers displayed a high level of energy a wide range of skills (singing, dancing etc.) to make them entertaining and thought provoking  The actors interacted with each other to make their performance real and authentic  The relevant banners and slogans were used to create the true essence of the original play and show what was happening in Sophiatown the place (10) [40] QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS 4.1 Markers accept relevant answers which demonstrate a knowledge and understanding of the theatrical style of the play. Award full marks for:  The correct answer The theatrical style is:  Realism in the Theatre OR  New Realism in the Theatre OR  Kitchen Sink Drama/ Kitchen Sink Realism (2) 4.2 Markers accept relevant answers which demonstrate an understanding of the characteristics of the genre identified in QUESTION 4.1. Award full marks for:  Four characteristics of the genre The following is a guide: The characteristics of the style/ genre are as follows:  Well-rounded and well-defined characters are written and created  Characters have a history/ biography  The dialogue spoken is everyday language and the audiences can easily identify with it Copyright reserved Please turn over ### Page 16 Downloaded from hlayiso.com Dramatic Arts 16 DBE/2023 SC/NSC – Marking Guidelines  The characters are plausible and recognisable to audiences  The characters represent everyday people  The characters are individuals rather than stereotypes  The characters experience real problems  The language reflects the kind of character portrayed to make the characterisation believable  The costume is an external expression of a character's traits  The given circumstances tells us more about the character and their social background  The set consists of and depicts everyday furniture, e.g. a real bed, a real car (Buick) as used in real life  The space is used creatively and with detail of significant items, e.g. the chicken coop, the block and tackle and the Buick  The actions are motivated because characters react to certain given circumstances and to each other's actions  The themes are about everyday life events, e.g. poverty, personal hopes and dreams  There is a linear, 'well-made' play plot structure with a beginning, middle and end  The performance space is the proscenium arch stage (4) 4.3 Markers accept answers which demonstrate a knowledge, understanding and analysis of the theatrical elements of the production as criticised by Sanet du Plessis. Award full marks for:  Two well-motivated statements OR  Four separate thoughts/ ideas The following is a guide: The theatrical elements of the production of Siener in die Suburbs which Sanet du Plessis criticised are:  The stage was almost empty  It did not depict the backyard of a house in the suburbs  No realistic set was created, and no attempt was made to create a 'slice of life' on stage. The set did not show everyday life in the suburbs  The Buick was represented by a black rostrum, whereas it should have been a real car to reflect the Realism of the play  Only door frames served to demarcate the entrance to the house and this might break down the illusion of reality  There was no realistic wire chicken coop but only painted images of chickens in a coop. This does not aid the believability of the environment of the action  No realistic tools or a real block and tackle were used and pre-recorded sounds were played to indicate the tools being used, which limited the actors from engaging with the required props to make their actions believable, e.g. working on the car  Jakes did not use a real bike but mimed a bike. The bike sounds were pre- recorded, and this is not realistic  The black costumes used did not tell the audience much about the characters or their socio-economic situations (4) Copyright reserved Please turn over ### Page 17 Downloaded from hlayiso.com Dramatic Arts 17 DBE/2023 SC/NSC – Marking Guidelines 4.4 Markers accept relevant answers which demonstrate an analysis and application of the socio-economic situation in South Africa during apartheid. Award full marks for:  Four well-motivated statements OR  Eight separate thoughts/ ideas The following is a guide: The socio-economic situation in South Africa during apartheid is represented as follows:  The injustices of society are shown by Tiemie who desperately tries to escape from the suburbs and her reputation of being from a low class  The verbal and physical abuse between Tiemie and Jakes is shown when Ma comes out of the house with the bloodied cloth  Violence forms a part of their lives as Jakes and Giel force Tjokkie to 'see into the future'  Alcoholism is represented by the characters drinking excessively  Discrimination between different classes in society is shown by Tiemie and her desire to be part of the higher class in the society  Abuse is a part of their lives. Humans tend to marginalise and bully those who are 'different' whether is it racial, physical, cultural, psychological or economical  Poverty is represented by all the characters, e.g. Tjokkie working on a car because he cannot find other work  The set reflects a family struggling to make ends meet  Addiction and poverty are represented by Giel who gambles by betting on the horses to try to break free from poverty with a win (8) 4.5 Markers accept relevant and well-motivated answers which demonstrate an understanding, knowledge, analysis, application and evaluation of the importance of the character of Pa in the play. Award full marks for:  Three well-motivated statements The following is a guide:  Pa forms part of the family's past and is still relevant in their lives because Ma still receives his pension and he may still be alive  Pa holds Ma back because she still hopes he will return therefore she doesn't want to marry Giel  Tjokkie 'sees' a man at the small gate in his vision and this keeps the audience in suspense because it might be a vision of Pa  Pa provided the house in which Ma, Tjokkie and Tiemie live. They have shelter (6) Copyright reserved Please turn over ### Page 18 Downloaded from hlayiso.com Dramatic Arts 18 DBE/2023 SC/NSC – Marking Guidelines 4.6 Markers accept relevant and well-motivated answers which demonstrate an understanding, analysis and evaluation of how the play still can inspire outrage, solidarity and action. The following is a guide: The following could be factors to ensure that the play still has the power to inspire: Outrage:  Unemployment would still evoke outrage as we often see with protest marches being held today in the streets  Many of the social issues are still present in South Africa today. This results in many people being dissatisfied with the current living conditions Solidarity:  An audience would still experience the feeling of desolation and poverty because they can still identify with it  The bad economic situation in the present day would lead to solidarity between people as everyone suffers from the consequences Action:  Discrimination between the rich and the poor is still present and protest action could be taken against it  Gender-based violence is still prevalent e.g. Jakes abuses Tiemie  Groups of people might unite and protest against the following circumstances: o Isolation socially and geographically o Homelessness o Unemployment and difficult working conditions o Loss of lives o Further education is not pursued by many young people o Poverty and its psychological and emotional impact o Employment opportunities are limited o Substance abuse (6) 4.7 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept relevant and well-motivated answers which demonstrate an understanding and evaluation of how to create a production of Siener in die Suburbs and make it more theatrically exciting. The following is a guide: The production could be theatrically exciting if:  The set was a realistic picture of a backyard in the suburbs because it must show the poverty and low-class life of the characters  The Buick was a real car to show that Tjokkie is working on it  The block and tackle were real and the car was in an elevated position. The car lowering onto Tjokkie’ s body causes his death at the end of the play  There was a real façade of a house with doors and suggested inner spaces because the characters have to move in and out of the house  Jakes entered on a real bike with real sound effects made by a bike Copyright reserved Please turn over ### Page 19 Downloaded from hlayiso.com Dramatic Arts 19 DBE/2023 SC/NSC – Marking Guidelines  Lighting was used to indicate the time of the day and it can be used to focus on a specific character, as well as creating appropriate atmosphere  Costumes portrayed the characters clearly, e.g. Ma in an old dress, Jakes in a pair of jeans with a leather jacket  The song 'Sugar Sugar' was used to set the mood of life in the suburbs and can often be repeated (10) [40] TOTAL SECTION B: 40 Copyright reserved Please turn over ### Page 20 Downloaded from hlayiso.com Dramatic Arts 20 DBE/2023 SC/NSC – Marking Guidelines SECTION C: SOUTH AFRICAN THEATRE: POST 1994–CONTEMPORARY QUESTION 5: NOTHING BUT THE TRUTH BY JOHN KANI 5.1 Markers accept relevant answers which demonstrate an understanding of the value and use of director's notes. Award full marks for:  One well-motivated statement OR  Two separate thoughts/ ideas The following is a guide: Director's notes are useful because:  The director can formulate and remember ideas and record thoughts and concepts to use in the creation of the production  They form the basis of what is to ultimately appear on stage as a living production (2) 5.2 Markers accept relevant answers which demonstrate an understanding of a good audition process and what is expected of the actor auditioning for the role. Award full marks for:  Two well-motivated statements OR  Four separate thoughts/ ideas The following is a guide: It is expected from an actor auditioning for the part to demonstrate:  Confidence because the actor must perform the part/ character  Clarity of speech including projection, articulation and tone  An understanding of the correct interpretation of the character  The ability to memorise the lines  An understanding of the subtext of the piece  Sustained focus while auditioning  Listening skills to interpret the director's requirements (4) 5.3 Markers accept relevant answers which demonstrate an understanding, analysis and application of the set design of the play as well as the design requirements involved. Award full marks for:  Two well-motivated statements OR  Four separate thoughts/ ideas The following is a guide: A sketch/ photo/ model of the set design may be helpful because:  It is a visual guide/ picture of the set and easy to study  It indicates the placement of all the elements of the set, such as the décor and props Copyright reserved Please turn over Text truncated here. 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