Dramatic Arts PAT GR 12 2020 Eng

Downloaded from hlayiso.com DRAMATIC ARTS GUIDELINES FOR PRACTICAL ASSESSMENT TASKS GRADE 12 2020 These guidelines consist of 46 pages. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 2 DBE/PAT 2020 NSC TABLE OF CONTENTS 1. INTRODUCTION 3 2. TEACHER GUIDELINES 3 General 3 Aims 4 Some ideas and approaches 4 How to administer the PATs 6 How to mark/assess the PATs 6 Moderation of PATs 7 3. LEARNER GUIDELINES 9 Instructions to learners 9 Practical assessment tasks 9 Assessment/Moderation rubrics/tools 10 Absence or non-submission of PATs 11 Requirements for presentation of PATs 11 Timeframes 11 Declaration of authenticity 12 4. LIST OF RESOURCES 13 5. CONCLUSION 14 STANDARDISATION/ASSESSMENT/DEBRIEFING/MODERATION TOOLS: ANNEXURES A–R 15 Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 3 DBE/PAT 2020 NSC 1. INTRODUCTION The 17 Curriculum and Assessment Policy Statement subjects which contain a practical component all include a practical assessment task (PAT). These subjects are:  AGRICULTURE: Agricultural Management Practices, Agricultural Technology  ARTS: Dance Studies, Design, Dramatic Arts, Music, Visual Arts  SCIENCES: Computer Applications Technology, Information Technology, Technical Sciences  SERVICES: Consumer Studies, Hospitality Studies, Tourism  TECHNOLOGY: Civil Technology, Electrical Technology, Mechanical Technology and Engineering Graphics and Design A practical assessment task (PAT) mark is a compulsory component of the final promotion mark for all candidates offering subjects that have a practical component and counts 25% (100 marks) of the end-of-year examination mark. The PAT is implemented across the first three terms of the school year. This is broken down into different phases or a series of smaller activities that make-up the PAT. The PAT allows for learners to be assessed on a regular basis during the school year and it also allows for the assessment of skills that cannot be assessed in a written format, e.g. test or examination. It is therefore important that schools ensure that all learners complete the practical assessment tasks within the stipulated period to ensure that learners are resulted at the end of the school year. The planning and execution of the PAT differs from subject to subject. 2. TEACHER GUIDELINES GENERAL The Annual Programme of Assessment for the subject Dramatic Arts stipulates that THREE PATs should be completed for the School Based Assessment component. This means ONE PAT per term for terms 1, 2 and 3. Ensure that you, as the teacher, have a clear understanding of all four Broad Topics and their related Topics when you prepare, set, implement and mark the PATs. All three PATs contain two sections: SECTION 1: WRITTEN SECTION The Written Section consists of an Assignment, an Essay and Research. The learners are required to demonstrate cognitive and conceptual understanding of the concepts of the CAPS Broad Topics and Topics, on which the Written Section is based, as well as planning, reflection and record-keeping skills. The Essay, Research and Assignment may be done in any of the three terms, and, according to a school's specific planning, in any order. The Written Section serves to prepare learners for the Performance Sections of the PATs. SECTION 2: PERFORMANCE SECTION The focus of this Performance Section is to develop the practical skills and techniques prescribed in the CAPS Broad Topics and Topics incrementally and cyclically. Learners should demonstrate applied competence in the form of Dramatic Items, such as a poem, monologue, prose, scene/extract, physical theatre, film, design, directing and stage management. A variation in Dramatic Form, Style and Dramatic Movement needs to be demonstrated – as prescribed for the end-of year examination. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 4 DBE/PAT 2020 NSC AIMS Both the Written and the Performance Sections aim to:  Ensure thorough TEACHING and deep LEARNING has taken place. Guard against an assessment-driven approach. Prepare your lesson plans to ensure enough time is spent on you, the teacher, TEACHING and the learner LEARNING. The formal assessment of the PAT is merely the end point of a long process based on teaching and active learning.  Guide learners through an academic, theoretical, conceptual, technical and practical skills process to enable them to integrate theory and practice in a meaningful manner.  Deepen and consolidate the learners' understanding and learning of the classroom teaching.  Provide the opportunity to build a varied theoretical and practical repertoire in terms of process and product.  Integrate theory and performance concepts, skills, knowledge and content.  Prepare the learners for the complex cognitive and abstract theoretical and performance demands of the mid-year, trial and end-of-year examinations: o Paper 1: Written Examinations o Paper 2: Performance Examinations: Theme/Audition or Technical Programme SOME IDEAS AND APPROACHES Theoretical, academic, technical skills:  The subject Dramatic Arts requires a minimum of three years of rigorous, continuous teaching, learning, development and maturation of conceptual and practical skills and techniques. The development of voice modulation techniques, for example, should occur over the three-year period and not only in Grade 12. (Ensure every period or moment of teaching is focused.)  The transfer of knowledge, acquisition of skills and change in attitudes and values, are embedded in an ongoing deep process approach. It is within the process that creative thinking, creativity, imagination, visualisation, problem solving and critical thinking are discovered, explored, conceptualised, implemented, developed and applied. These aspects cannot be attained through individual methodologies or products.  Consciously develop learners' content knowledge as well as the academic and technical rigour of the subject. At the end of Grade 12 learners should demonstrate applied competence of the Curriculum Assessment Policy Statement from grade 10 to 11 to 12.  Ensure that the integrity of technical skills, style, genres, principles etc. of the dramatic forms are maintained and demonstrated at all times. (E.g. an Elizabethan poem may be interpreted creatively, but the form and style of the Iambic rhythm, the phrasing, the heightened poetry, the vocal and physical delivery, etc. of the Elizabethan genre must be mastered and demonstrated.) Process, meaning, creative voice and product:  Very few learners can complete a brief on their own. You, as the teacher, have to guide and facilitate the creative process from inception to completion.  Be open-minded about divergent ideas, creative inferences, innovation and offered solutions.  Remember; you must guide the aesthetic qualities and skills of the tasks.  It is the task of the teacher to enable the learner to find his/her own creative voice.  Try to lead the learners to find individual and innovative approaches/solutions.  Guide them to develop ideas by working from first-hand observation, e.g. attending and discussing plays, critiquing TV programmes and films.  Guide learners to eliminate source material that lacks aesthetic appeal. Dramatic forms should be selected from a credible published source or recognised oral tradition rooted in indigenous knowledge systems. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 5 DBE/PAT 2020 NSC Learners' styles and creativity:  Learners should be confident and calculated risk takers, try out new ideas and processes without fear of failure.  It is important that confidence is encouraged and nurtured to ensure learners feel comfortable about taking risks and learning from their mistakes.  Create a high-risk, low-threat/safe environment.  As far as possible know your learners in order to develop their particular strengths. Some will be careful planners, while others work more intuitively. Some will exhibit their work process outwardly; others work quietly, slowly and in private. Appreciate, nurture and most of all respect all work styles.  Extrovert learners may readily offer a solution to another learner's mistakes. Encourage the extrovert to rather focus on their own process and encourage the introverted learner to offer and communicate their own solution. Extroverts are not necessary leaders. Often the introverted learner is more conscious of detail, process and meaning. Encouraging these learners' voices and opinions may enrich discussions.  Creative activity may proceed from a number of different levels, from the lower end, such as producing a written framework for a Theme Programme; or the upper level, developing an entirely fresh and individualised process and/or outcome. Both are valid and will reach the same product.  There are many ways of creating. Be flexible enough to allow learners to find and use their unique ways. One expects a stronger individual interpretation and style in Grade 12 learners. Resources or the lack thereof does not determine the level of creativity but rather what the learner does with the resources available. The focus is on innovation and the ability to re-imagine, re-frame or re-present a process or product from their unique view of the world. Assessment, feedback, listening and communication skills:  Continuously do informal assessment. Discuss the progress of learners' work with them individually. Guide learners to find their own solutions, rather than imposing your ideas on them.  Have regular 'critique sessions' during which the teacher facilitates learners to talk and discuss their own and their classmates' processes/work in an informed and constructive way. Base this discussion on the content in the CAPS.  Be skilled at listening. Dramatic Arts is about effective and skilled communication. Practice and promote a culture of 'listening to understand' and not only 'listening to dispute 'or 'disagree'. Be careful not to enforce a simplistic understanding of 'listening' to ensure learners do not 'talk back' or express their points of view or the construct from which they have worked. You may even have to change your well thought out position based on knowledge you have as a teacher. There is not only one way of doing things, but multiple ways.  It is important to view and discuss the body of work by a learner continuously throughout the year. It helps to identify their strengths and improvement points. Teach learners to record their experiences and feelings in a reflective manner in their individual process journal. Apply the principle of: 'what is not documented did not happen'. This will help to develop critical and creative thinking and will make the selection and ordering of ideas more transparent and conscious.  Beware of damaging criticism. It is advisable to start with the positive and then move to areas that can be improved. Enter into dialogue with a learner, e.g. 'I think it will be more effective if you change this … What do you think?' This makes them feel part of the process and makes them think about their work. Use coaching and de-briefing skills. Create a space in which learners may disagree with you.  Guide learners to be effective, independent, critical, creative and reflective thinkers.  Do not underestimate learners; challenge them, as they often rise to the occasion. Use a range of questions that extend and deepen learners' ability to re-consider their creative choices. This should lead them to ask: 'If this is how it is now, how else can it be?' Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 6 DBE/PAT 2020 NSC Reflection:  As a starting point; reflection is best done against the agreed upon rubric criteria. Reflective practices include reflection before, during and after a task. Teachers may also, as a learning tool, use the rubric criteria as questions to debrief and reflect on the evidence produced by the learner. At the end of each PAT (Written and Performance Sections) there should be reflection/feedback on the work presented. Teachers need to share comments on the strengths and the weaknesses. This will provide learning and improvement points for the learner to implement for continuous development and mastery.  This may be either written or verbal feedback and it could take the form of: self-reflection, class/teacher reflection and marking, peer reflection, open critique sessions guided by the TEACHER as well as the learner. HOW TO ADMINISTER THE PATs Teachers must:  Ensure all resources, required to do the PATs, are available. See the DBE Catalogue for Learning and Teaching Support Materials (LTSM).  Timetable sufficient time for learners' to complete the PATs (select contact time during and/or after school).  Ensure you TEACH every CAPS topic, concept/skill and knowledge component thoroughly. Facilitate a deep LEARNING process for each learner before the actual assessment of the PAT's are administered.  Use the Guidelines for Standardisation for an Assessment, Essay and Research to ensure the correct format, length, content etc. is applied across the nine provinces for the assignment, essay and research.  Monitor that PATs are on schedule during the process.  Conduct informal continuous assessment.  Complete formal assessment; use the rubrics provided in this document.  Complete the Excel mark sheets/spread sheets provided by the province.  Follow school policy regarding submission of marks.  File the Lesson Plans as well as the Assessment Tasks' briefs and instructions as well as the Assessment Tools (rubrics, marking guidelines, checklists) for the PATs, based on the CAPS Topics, in the file called TEACHER FILE: LESSON PLANNING AND ASSESSMENT TASKS PLANNING.  This file must be available for cluster, provincial and national moderation.  Record, on an ordinary cellphone, the Performance Sections of learners' PATs and down load onto a DVD. This DVD must be available for moderation.  File the learners' completed assessment evidence of both the Performance Sections (DVDs) and the Written Sections of the PATs in the file called:  LEARNER FILE: ASSESSMENT EVIDENCE. This file must be available for cluster, provincial and national moderation.  All learners' Written Section and Performance Section evidence should be available at all times and remains the property of the Department of Education until the final results are released. Keep these written pieces and DVD-saved performances locked up in your classroom. This is a school responsibility. HOW TO MARK/ASSESS THE PATs Teachers should ensure the assessment/marking of PATs:  Measures the achievement of the CAPS Broad Topics and Topics content: Concepts/Skills/ Knowledge as well as the theoretical and performance components of each topic.  Determines whether the Guideline for Standardisation of the Written Sections was followed.  Uses the relevant rubrics for the: o Theory Section: rubrics for the assignment, essay and research o Performance Section: rubrics for a poem, monologue, prose, movement and extract as well as the rubrics for the design, directing, film and stage management  Measures the learners' evidence and performance against the criteria and level descriptors of the rubrics. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 7 DBE/PAT 2020 NSC  Adhere to the following principles of: o Fairness: An assessment should allow for learners of both genders and all backgrounds to do equally well and for all to have an equal opportunity to demonstrate the skills and knowledge being assessed. Fairness is jeopardized if bias exists in the task or in the marker. For a task to be fair, its content, context, and performance expectations should: reflect knowledge, skills, and experiences that are equally familiar and appropriate to all learners. This should include access to research resources. o Reliability: An assessment is considered reliable when the same results occur regardless of when the assessment occurs or who does the marking. o Validity: An indication of how well an assessment actually measures what it is supposed to measure. A valid task should :  Reflect actual knowledge or performance, not test-taking skills and memorised facts  Engage and motivate students to perform to the best of their ability  Be consistent with current educational theory and practice  Be rigorous in lesson plan design and teaching. This includes the design of detailed instructions, activities and exercises. This promotes scaffolding of thinking, planning for thinking, assessing thinking about content, recognising the level of thinking students demonstrate.  Be relevant in lesson plan design and teaching. This enhances the learners' ability to evaluate, justify, infer, predict, conclude, revise, recommend, argue, prioritise, formulate, etc. A relevant task is when learners recognise the connection between classroom knowledge and situations outside the classroom. MODERATION OF PATs 1. The moderation of the PAT's, although an important process, should be effected within the context of the whole process of planning, teaching, learning, assessment and moderation. The amount of time spent on moderating learner evidence should not take away from the importance of moderation of teaching and learning. 2. It is important to be clear that the purpose of moderation should focus on whether the CAPS Topics (skills, knowledge and content) have been TAUGHT and LEARNT. 3. Moderation is a shared understanding of several steps and processes. Familiarise yourself with the meaning, purpose and scope of the following steps/processes: Step 1: Verification This is a quick and short first step in the moderation process. A checklist is used to tick off which items of evidence, as required by policy, have been submitted for moderation. Step 2: Moderation A template that lends itself to analyse the spread and scaffolding of Blooms' Taxonomy's 6 cognitive levels and 4 thinking processes, as applied to the CAPS topics. Officials must ensure moderation includes the following: a. Lesson Plans: Are the lesson plan activities based on the content of the CAPS topics? b. Assessment Task Plans: Are the assessment task activities/briefs/instructions based on the CAPS topics and the respective lesson plan? c. Learner Assessment Evidence: Is the learner's assessment evidence based on the CAPS + the respective lesson plan + the respective assessment task? 4. Standard Setting Internal standardisation provides a system for checking the quality of assessment to make sure that it is:  Valid – relevant to the standards for which competence/attainment is claimed  Authentic – produced by the learners  Current – sufficiently recent for assessors to be confident that the learner still has the same level of skills or knowledge  Reliable – genuinely representative of the learner's knowledge and skills  Sufficient – meets all the requirements of the standards in full Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 8 DBE/PAT 2020 NSC  This is the process in which it is determined if the minimum performance/ achievement levels, required for each grade/topic, has been accomplished. The achievement levels are determined by the: o Topic's skills, knowledge, content and concepts o 6 cognitive levels o 4 thinking processes o 3 levels of difficulty Evidence of this will be found in the instructions, activities, exercises, briefs, etc. of the Lesson Plans, Assessment Task Plans and Learner Assessment Evidence which officials must moderate. It must be clear what learners should know and be able to do when they have reached each level/topic. 5. Quality Assurance Officials must ensure the processes of the following are followed and available as evidence: Teacher training: all Dramatic Arts teachers must have official higher education training to offer the subject: minimum 3-year degree in Drama, PGCE as well as CAPS training Teacher plans: above 1, 2 and 3 items of evidence must be of value and be fair, valid and reliable. Clear teaching, learning and assessment of topics (skills, content, knowledge and concepts) must be contained in each activity, exercise, instruction, brief, etc. These must be scaffolded from lower to middle to higher order in terms of Blooms' Taxonomy. 6. Standardisation Standardisation is a process used the world over to mitigate the effect of factors other than the learners' knowledge and aptitude on the learners' performance. Officials must use the moderation evidence to assist teachers to understand, interpret and implement the CAPS topics' skills, knowledge, content and concepts 7. Moderation: a. Should take place each time a PAT is completed. b. Checks that assessment tasks and activities provide learners with fair and valid opportunities to meet the standards and expectations of the CAPS. c. Agrees on strengths in learners' performances and plans to improve skills and knowledge. d. Provides feedback on teacher judgments (setting and marking of PATs) to improve teaching. e. Raises standards and expectations and levels of consistency. f. Ensures learning is at the appropriate level and that learners develop skills for learning, life and work. g. Should be conducted internally at school level, by a peer teacher/HOD/principal before the cluster/provincial moderation. h. Should involve teachers in the moderation process to ensure professional development. i. Should ensure interreliability in the awarding of marks. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 9 DBE/PAT 2020 NSC 3. LEARNER GUIDELINES INSTRUCTIONS TO LEARNERS Three PATs have to be completed during the year, one per term. Each of the three PATs consists of a Written Section as well as a Performance Section. You have to complete both and at all times integrate the theoretical and practical concepts, skills and content. Use these three PATs to: Select and prepare your three contrasting drama items for your end-of-year performance examination. NOTE: To select an item a month before your final examination is not a good idea, the reason being that emotional and physical integration takes time. You need months to grow into a poem, etc. Writing and theoretical conceptualisations, as well as higher-order thinking skills, take practice. Use the three writing/theoretical sections to ensure you know how to write down your thoughts, learning and experiences in a form that will achieve the aims, structure and form of a written examination. PRACTICAL ASSESSMENT TASKS ANNUAL PROGRAMME OF ASSESSMENT GRADES 10 AND 11 TERM 1 TERM 2 TERM 3 TERM 4 Task 1: Task 3: Task 5: Practical Assessment Task Practical Assessment Task Practical Assessment Task  Written Section (25)  Written Section (25)  Written Section (25)  Performance Section  Performance Section (25)  Performance Section (25) (25) Task 7: Task 2: Task 4: Task 6: Grade 10 and 11 Test (50) Grade 10 Test (50) end-of-year examinations Mid-year examinations  Written Examinations (150)  Written examinations (100)  Performance Examinations  Performance examinations (150) (100) Grade 11 Mid-year examinations  Written examinations (150)  Performance examinations (150) ANNUAL PROGRAMME OF ASSESSMENT GRADE 12 TERM 1 TERM 2 TERM 3 TERM 4 Task 1: Task 3: Task 5: Practical Assessment Task Practical Assessment Task Practical Assessment Task Final National External  Written Section (25)  Written Section (25)  Written Section (25) Examinations  Performance Section (25)  Performance Section (25)  Performance Section (25)  Paper 1: Written Examinations (150) Task 2: Task 4: Task 6:  Paper 2: Performance Test (50) Mid-year examinations Trial Examinations Examinations (150)  Written examinations (100)  Written examinations (100)  Performance examinations  Performance examinations (100) (100) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 10 DBE/PAT 2020 NSC WRITTEN SECTIONS ASSIGNMENT: ESSAY: RESEARCH: Learners: Learners: Learners: This PAT section may be in Use the theoretical support Collect additional outside the form of a journal, collage, material given to you by your source material to do etc. Make sure you know teacher (textbook, classroom independent research to exactly what your teacher notes) to write the essay. enrich your understanding of has briefed and instructed Make sure you follow the the research brief and you to present. You should guidelines and brief instructions. Make sure that follow the following instructions set by your you look at as many different processes when you write an teacher. Use this PAT sources as possible. The assignment: section to practise your Internet is only one option 1. Collect essay-writing skills in and is not always reliable. 2. Analyse preparation for the essays in At all times be ethical in your 3. Interpret the written examination. research. Research requires: 4. Reflect Ensure your essay follows 1. Use of a variety of 5. Present information on the basic format of an essay: sources your own personal 1. Introduction 2. Comparing practical skills 2. Body of knowledge 3. Contrasting development journey. 3. Conclusion 4. Highlighting 5. Finding 6. Presenting PERFORMANCE SECTIONS Each of the three Performance Sections of the PATs should be used by you to select, prepare and present your items for your end-of-year final external performance examination:  Theme Programme OR  Audition Programme OR  Technical Theatre Programme. Once you have performed your drama item, keep on developing and improving it throughout the year. Theme/Audition Programme: (Any THREE of the drama forms below) Monologue, poem, extract, prose, dramatised prose, storytelling, choral verse, indigenous drama, satirical revue, physical theatre, movement, mime Technical Theatre Programme  Design (scenery/properties/lighting/sound/costume/make-up)  Directing  Film  Stage management ASSESSMENT/MODERATION RUBRICS/TOOLS WRITTEN SECTION: An assessment tool/rubric is provided for the assignment, essay and research tasks. PERFORMANCE SECTION: (Acting and Technical candidates) An assessment tool/rubric is provided for the extract, poetry, prose, monologue, movement, design, directing, film and stage management Teachers should provide each learner with a copy of the relevant rubric and facilitate understanding of the criteria and levels of achievement with the learners prior to the execution of tasks. As part of the practice of assessment for learning (AfL) samples of good practice with a clear indication on 'where, why, how and what' marks were awarded could be provided. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 11 DBE/PAT 2020 NSC ABSENCE OR NON-SUBMISSION OF TASKS Absence or non-submission of PATs will result in an INCOMPLETE mark. Only if a valid medical certificate is presented the day the learner returns to school, can another deadline for handing in or performing the PAT be decided on by both the teacher and the learner. REQUIREMENTS FOR PRESENTATION See the list of Minimum Resources; Facilities, Equipment, LTSM, Timetabling, etc. that should be in place before the PATs are taught, implemented and assessed. These resources should be available to the teacher and the learners to complete the three PATs. The teacher should draw up a Lesson Plan for ALL of the Topics being covered by a specific PAT. In addition, a clear assessment brief with detailed Instructions should be facilitated with the learners. TIMEFRAMES Teachers: Teach, administer, assess and record and report on one PAT per term 1, 2 and 3. Communicate in writing, exact, non-negotiable dates for handing in or performing the PATs. Learners: Ensure you follow the assessment brief and instructions. Hand in, or perform your PAT on time to ensure you achieve a mark. DECLARATION OF AUTHENTICITY Practical tasks are not limited to a performance. The PAT tasks (1, 3, and 5) are a preparation for your mid-year, trial and end-of-year written and performance exams. Integrate the theory aspect of the PAT with the practical aspect. Engage in planning, preparation, research, skills building and reflection before you hand in your essay, research task or assignment. Rehearse your performance items until you can perform fluently and with confidence. Use these smaller opportunities to lay a foundation for your later theoretical and practical exam work. Learners will be required to answer practical-based questions in their final written paper. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 12 DBE/PAT 2020 NSC DECLARATION OF AUTHENTICITY This declaration must be completed and signed by the learner and countersigned by the teacher and covers all evidence submitted. Learner name and surname: Date: I declare that the attached PRACTICAL ASSESSMENT TASK is all my own work and does not include any work completed by anyone other than myself. I have completed this Task in accordance with instructions and within the stipulated time limits Learner signature: Date: Teacher confirmation On behalf of …………………………………………………………... (centre name), I confirm that the above-mentioned learner, to the best of my knowledge, is the sole author of the completed assignment attached and the assessment has been completed under the required conditions. Teacher signature: Date: Principal signature: Date: Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 13 DBE/PAT 2020 NSC 4. LIST OF RESOURCES The subject Dramatic Arts, like other subjects, requires specific resources for effective teaching, learning, presentations and performances to be achieved. Due to the fact that the subject is included on the designated list for higher education, officials from the Department of Basic Education have a responsibility to ensure that there is an informed and committed approach and that the minimum requirements are in place to ensure integrity in the teaching and learning of the subject. It is important to note that these resources need not be expensive or elaborate. It is equally important that if a school is not able to provide these subject-specific resources, the subject should preferably not be offered. Learners will be disadvantaged if resources such as the DBE-screened textbook, the prescribed play texts, chairs, a reasonably functional space/room for practical work are not available. (The DBE, through the annual norms and standards, makes provision for minimum resources to be purchased for all the subjects offered by a school. The school management committee or the equivalent of this body is tasked to ensure every subject's needs are met.) In November/December of the previous year teachers should ensure that the following basic resources are in evidence in the Dramatic Arts classroom for a functional start to the new year. HUMAN RESOURCES A teacher with a drama qualification should teach and assess the CAPS and its respective annual programme of assessment which includes the three PATs. A suitably qualified teacher for this subject could have the following background:  Bachelor of Arts (Drama)  Bachelor of Education (Drama)  Licentiate in Drama Teaching, Trinity College  Diploma from LAMDA  Or any other officially accredited, 360-credit qualification in Drama  In addition to all of the above, a one-year post graduate certificate in teaching or diploma in training. Note the following is not an appropriate or sufficient qualification to teach Dramatic Arts:  The creative arts teacher  An actor/actress  A drama enthusiast  The English language teacher  The dance teacher LTSM: EQUIPMENT AND FACILITIES Learners have to experiment with the use of space, levels, entrances and exits. The following basic items will provide opportunity to fill the empty space creatively with set pieces etc.:  A double classroom, or an open space  4 x wooden blocks/cubes/plastic crates/chairs or an alternative affordable equivalent (ensure that if plastic crates or chairs are used that they are strong enough to bear the weight of performers)  4 x flat screens/hanging cloths/cardboard boxes or an alternative affordable alternative  4 x stage steps or an alternative affordable alternative  Tables and chairs serve as décor pieces  The following are not prerequisites, but would be advantageous; a stage, lighting and sound facilities Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 14 DBE/PAT 2020 NSC LTSM: REFERENCE  1 x DBE screened textbook per learner  1 x DBE screened textbook per Dramatic Arts teacher  3 x play texts, 1 for each of the selected genres; 3 x per learner Photo copies of any of the above are illegal and can subject the school to lawsuits by publishers, textbook writers and playwrights  1 x workbook per learner  1 x file/box for the teacher to safe keep planning and administration for moderation  1 x file/box for the teacher to safe keep learner assessment evidence for moderation  1 x black T-shirt/comfortable top + black long pants + shoes for learners' practical work  Field trips. 1 x per term to a professional play/drama  The following is not a prerequisite, but would be beneficial: A DVD of a professionally staged performance of a play text in each of the genres and dramatic movements. The learners have to demonstrate understanding and applied competence in e.g.: o Commedia dell' arte Scapino by Moliere o African Drama Forms o Greek Theatre: Antigone by Sophocles o South African Theatre; any works/workshop play o Elizabethan Theatre: Romeo and Juliet by William Shakespeare o Realism: Have you seen Zandile by Gina Hlope o Epic Theatre: Caucasian Chalk Circle by Bertolt Brecht o Theatre of the Absurd: Waiting for Godot by Samuel Beckett o Post-Modern Theatre: Top girls by Carol Churchill o South African Theatre Pre-1994: Woza Albert! by M Ngema, P Mtwa, B Simon o South African Theatre Post-1994 Missing by Reza de Wet ARTICULATION WITH GET The teacher teaching drama in creative arts should ensure learners in Grades 8 and 9 receive a solid foundation in the concepts: skills, knowledge and content of Drama. At the end of Grade 9 it is suggested that interviews and auditions be held to ensure only learners who are disciplined, hardworking, interested, committed and have potential are selected for FET Dramatic Arts. Ensure that the class ratio for Grade 10 is as per the provincial set norm. If Drama classes are too full injuries may occur and the interested and hardworking drama learners may be disadvantaged because they will not receive the dedicated one on one teaching required for drama. TIMETABLING Timetabling for Dramatic Arts requires a minimum of 4 hours per week during school time and one hour after school. This hour ration is applicable to Grades 10, 11 and 12 respectively. Additional time is essential after school hours for completion of the PATs, remediation, enrichment, rehearsals, performances and field trips to view drama performances. 5. CONCLUSION On completion of the practical assessment task learners should be able to demonstrate their understanding of the industry, enhance their knowledge, skills, values and reasoning abilities as well as establish connections to life outside the classroom and address real-world challenges. The PAT furthermore develops learners' life skills and provides opportunities for learners to engage in their own learning. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 15 DBE/PAT 2020 NSC STANDARDISATION/ASSESSMENT/DEBRIEFING/MODERATION TOOLS WRITTEN TASKS: GUIDELINES FOR STANDARDISATION ANNEXURE A: ASSIGNMENT ANNEXURE B: ESSAY ANNEXURE C: RESEARCH WRITTEN TASKS: ASSESSMENT TOOLS: RUBRICS ANNEXURE D: ASSIGNMENT ANNEXURE E: ESSAY ANNEXURE F: RESEARCH THEME/AUDITION PROGRAMME: ASSESSMENT TOOLS: RUBRICS ANNEXURE G: EXTRACT ANNEXURE H: MONOLOGUE ANNEXURE I: MOVEMENT ANNEXURE J: POETRY ANNEXURE K: PROSE TECHNICAL THEATRE PROGRAMME: ASSESSMENT TOOLS: RUBRICS ANNEXURE L: DESIGN ANNEXURE M: DIRECTING/THEATRE MAKING ANNEXURE N: FILM MAKING ANNEXURE O: STAGE MANAGEMENT DEBRIEF OF THE PATs PERFORMANCE SECTIONS ANNEXURE P: QUESTION STEMS ASSESSMENT/MARKING AND MODERATION: GOOD PRACTICE ANNEXURE Q: PRINCIPLES MODERATION TOOL ANNEXURE R: TEMPLATE FOR INTERNAL SCHOOL AND PROVINCIAL MODERATION Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 16 DBE/PAT 2020 NSC ANNEXURE A: GUIDELINES STANDARDISATION ASSIGNMENT TEACHERS:  Use these guidelines to ensure national standardisation of the written section of this PAT.  Attach these guidelines to the Assessment Task Plan of each respective Lesson Plan.  Use these guidelines to ensure the following is covered: 1 BRIEF WITH INSTRUCTIONS TO THE LEARNER  Provide a written brief with detailed instructions underpinned by a 'learning–how-to-learn' and a 'learning-by-doing' focus on how to deliver on the task .State the supporting conceptual scaffolding underpinned by a triple loop learning focus on the 'what, why and how' of the deliverables to be achieved and evidence to be generated.  Base the brief and instructions on the relevant CAPS Broad Topic and Topics taught to the learner  Use clear and unambiguous instructions; suitable terminology, e.g. analyse/describe/compare/ evaluate/predict/own opinion and what is the quality and quantity of evidence the learner has to generate for that command verb  Clarify the: o Format o Purpose o Content o Sources available, o Scope and limitations o Criteria against which the PAT will be assessed by alluding to the rubric criteria with a focus on the high end of quality  Demonstrate sensitivity and respect for gender, inclusivity, culture, class, race and religion  Provide an exact, non-negotiable date for the deadline of submission of the PAT 2 FORMAT May be any ONE of the following options:  Journal entry  Design Note Book entry  Director Note Book entry  Film Note Book entry  Stage Manager Prompt Book entry  Collage  Montage  Visual imagery (e.g. photos, video, DVD, audio recordings)  Worksheet designed by teacher  Reflection on excursions, field trips, community spaces/sites  Film analysis, theatre reviews  (Any other method that the teacher has found to be useful such as teach backs) 3 PURPOSE AND CONTENT: The Assignment should:  Integrate and conceptualise the classroom teaching of the CAPS Broad Topic(s) and Topic(s)  Reflect, in a meaningful manner, on classroom teaching and provide proof of the continuous development of the learner  Demonstrate the learners' level of cognitive understanding and application of concepts (content, knowledge, skills and attitudes)  Integrate practical experience and theoretical support material (exercises, activities, rehearsals classroom notes and other source material)  Use Dramatic Arts terminology (the language of drama) in all written presentations  Adhere to, and explain, specialised language in the case of Indigenous Knowledge Systems  Prepare for the Performance component of the PAT 4 SOURCES  Base the content of the Assignment on the CAPS Broad Topic(s) and their respective Topic(s)  Use, critically reflect on, and creatively apply the Textbook, Play Texts, classroom note and practical work Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 17 DBE/PAT 2020 NSC ANNEXURE B: GUIDELINES STANDARDISATION ESSAY TEACHERS:  Use these guidelines to ensure national standardisation of the PATs.  Attach these guidelines to the Assessment section of each respective Lesson Plan.  Use these guidelines to ensure the following is covered: 1 BRIEF WITH INSTRUCTIONS TO THE LEARNER  Provide a written brief with detailed instructions underpinned by a 'learning-how-to-learn' and a 'learning-by-doing' focus on how to deliver on the task .State the supporting conceptual scaffolding underpinned by a triple loop learning focus on the 'what, why and how' of the deliverables to be achieved and evidence to be generated.  Base the brief and instructions on the relevant CAPS Broad Topic and Topics taught to the learner  Use clear and unambiguous instructions; suitable terminology, e.g. analyse/describe/compare/ evaluate/predict/own opinion and what is the quality and quantity of evidence the learner has to generate for that command verb  Ensure the essay topic gives direction and guidelines to scaffold learner understanding and interpretation.  Clarify the: o Format o Purpose and content o Sources available o Scope and limitations o Criteria against which the PAT will be assessed by alluding to the rubric criteria with a focus on the high end of quality  Demonstrate sensitivity and respect for gender, inclusivity, culture, class, race and religion  Provide an exact, non-negotiable date for the deadline of submission of the PAT 2 FORMAT  Should be a formal structure, e.g. write in paragraphs, use core ideas.  Should consist of an Introduction, Main body of knowledge and a Conclusion/Summary.  The length and weighting may be guided by the following: ± 1 page; approximately ± 250 words. 3 PURPOSE AND CONTENT The Essay should:  Integrate and conceptualise the classroom teaching of the CAPS Broad Topic(s) and Topic(s)  Reflect in a meaningful manner, on classroom teaching and provide proof of the continuous development of the learner  Demonstrate the learner's level of cognitive understanding and application of concepts (content, knowledge, skills and attitudes)  Integrate practical experience and theoretical support material (exercises, activities, rehearsals classroom notes and other source material)  Use Dramatic Arts terminology (the language of drama) in all written presentations  Adhere to, and explain, specialised language in the case of indigenous knowledge systems  Prepare for the Performance component of the PAT 4 SOURCES  Base the content of the essay on the CAPS Broad Topic(s) and their respective Topic(s)  Use, critically reflect on, and creatively apply the textbook, play texts, classroom notes and practical work Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 18 DBE/PAT 2020 NSC ANNEXURE C: GUIDELINES STANDARDISATION RESEARCH TEACHERS:  Use these guidelines to ensure national standardisation of the PATs.  Attach these guidelines to the Assessment section of each respective Lesson Plan.  Use these guidelines to ensure the following is covered: 1 BRIEF WITH INSTRUCTIONS TO THE LEARNER  Provide a written brief with detailed instructions underpinned by a 'learning-how-to-learn' and a 'learning-by- doing' focus on how to deliver on the task. State the supporting conceptual scaffolding underpinned by a triple loop learning focus on the 'what, why and how' of the deliverables to be achieved and evidence to be generated.  Base the brief and instructions on the relevant CAPS Broad Topic and Topics taught to the learner  Use clear and unambiguous instruction; suitable terminology, e.g. analyse/describe/compare/evaluate/ predict/own opinion and what is the quality and quantity of evidence the learner has to generate for that command verb Clarify the: o Format, Purpose and Content o Sources available o Scope and limitations o Criteria against which the PAT will be assessed by alluding to the rubric criteria with a focus on the high end of quality  Demonstrate sensitivity and respect for gender, inclusivity, culture, class, race and religion  Provide an exact, non-negotiable date for the deadline of submission of the PAT 2 FORMAT May be any of the following options:  Written presentation (i.e. research essay with introduction, main body of knowledge, conclusion/summary).  A minimum of ± 300 words which is approximately 2 pages  Oral presentation, substantiated by written material (notes, brainstorming, etc.), 3–5 minutes per learner  Forum discussion/debate and accompanying script (15 minutes per group of 5)  Media: Film clips/video/TV inserts/radio/newspaper clips: 3–5 minutes  PowerPoint presentations: 3–5 minutes per learner  Interviews and accompanying scripts (5 minutes per pair/group)  Models (of stage types, set designs, décor, props, costumes) with accompanying written evidence  Collage, mixed media or montage 3 PURPOSE AND CONTENT The Research should:  Integrate and conceptualise the classroom teaching of the CAPS Broad Topic(s) and Topic(s)  Reflect, in a meaningful manner, on the teaching and provides proof of the continuous development of the learner  Demonstrate the learner's level of cognitive understanding and application of concepts (content, knowledge, skills and attitudes). By extension focus on not just providing a range of questions with cognitive levels of difficulty and complexity, but show, in a transparent way, to learners the ways of thinking and 'Habits of Mind' behind the construction of questions and their narrative.  Integrate practical experience and theoretical support material (exercises, activities, rehearsals classroom notes and other source material)  Use Dramatic Arts terminology (the language of drama) in all presentations  Adhere to and explain specialised language in the case of indigenous knowledge systems  Prepare for the Performance component of the PAT 4 SOURCES  Base the content of the Research on the CAPS Broad Topic(s) and their respective Topic(s)  Use, critically reflect on, and creatively apply the textbook, play texts, classroom notes and practical work  Investigate a wide variety of sources (interviews, field testing, human resources, books, newspapers, television, film, internet, etc.)  Select and use a minimum of two sources (not more than one internet source)  Reference all the sources investigated and used  Use the Oxford reference system  Do not plagiarise  Apply ethical use of sources including oral interviews from ethnographic studies and 'insider views' arising from indigenous knowledge systems.  Teachers investigate the internet addresses and hard copy sources provided by the learners, to ensure all sources were applied ethically Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 19 DBE/PAT 2020 NSC ANNEXURE D: ASSIGNMENT ASSESSMENT TOOL RUBRIC MARKS 0–7 8–13 14–19 20–22 23–25 DESCRIP- NOT ACHIEVED MODERATELY ADEQUATE MERITORIOUS OUTSTANDING TORS ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT Recording of skills, Recording of skills, Recording of skills, Recording of skills, Recording of skills, knowledge, values, knowledge, values, knowledge, values, knowledge, values, knowledge, values, techniques, techniques, techniques, techniques, techniques, exercises exercises and exercises and exercises and exercises and and dramatic/theatrical Record dramatic/theatrical dramatic/theatrical dramatic/theatrical dramatic/theatrical elements is elements lacks detail elements is limited elements is accurate elements is outstanding and and accuracy without insight detailed, displays a high degree comprehensive with of insight insight Reflection lacks Reflection Reflection Reflection Reflection critical thinking. demonstrates limited demonstrates a demonstrates high demonstrates an Superficial critical thinking in sufficient degree of degree of critical excellent degree of connections are applying, analysing, critical thinking in thinking in applying, critical thinking in made with skills, and/or evaluating applying, analysing, analysing, and/or applying, analysing, knowledge, content made with skills, and/or evaluating evaluating made and evaluating made Content and concepts knowledge, content made with skills, with skills, with skills, knowledge, Reflection and concepts knowledge, content knowledge, content content and concepts Minimal connections and concepts. and concepts. Insightful and relevant made through Connections made Connections made connections made explanations, through through through contextual inferences, and/or explanations, explanations, explanations, examples. inferences, and/or inferences, and/or inferences, and examples. examples. examples. Conveys inadequate Conveys limited Conveys evidence of Conveys strong Conveys strong and evidence of evidence of reflection on own evidence of insightful evidence of reflection on own reflection on own work. Demonstrates reflection on own reflection on own work. work. Personal work. Demonstrates satisfactory personal work. Demonstrates Demonstrates growth and less than adequate growth and satisfactory significant personal awareness are not personal growth and awareness through personal growth and growth and awareness evident and/or awareness through some inferences awareness through of deeper meaning demonstrates a few or simplistic made, examples, some inferences through inferences Personal neutral experience inferences made, insights, and made, examples, made, examples, well Growth with negligible examples, insights, challenges. Some insights, and developed insights, personal impact. and/or challenges thought of the future challenges. Some and substantial depth Lacks enough that are not well implications of thought of the future in perceptions and inferences, developed. Minimal current experience. implications of challenges. examples, personal thought of the future current experience. Synthesizes current insights and implications of experience into future challenges, and/or current experience. implications. future implications are overlooked. Expresses few Expresses some Expresses most Expresses ideas, Expresses many ideas, ideas, with limited ideas, supported by ideas, supported by supported by supported effectively support with relevant relevant evidence or relevant evidence or relevant evidence or by relevant evidence or Thinking, evidence or rationales. rationale rationale rationales. Inquiry and rationales. Critical, Critical, creative and Critical, creative and Critical, creative and Critical, creative and exploration creative and problem problem solving problem solving problem solving problem solving solving thinking is thinking is adequate thinking is thinking is thinking is highly limited and simplistic comprehensive and comprehensive and developed and offers offers many insights offers many insights creative insights Content, concepts, Content, concepts, Content, concepts, Content, concepts, Content, concepts, skills and skills and skills and skills and skills and knowledge knowledge knowledge knowledge knowledge (theatrical and (theatrical and (theatrical and (theatrical and (theatrical and dramatic), in relation to dramatic), in relation dramatic), in relation dramatic), in relation dramatic), in relation planning for continuous Creative to planning for to planning for to planning for to planning for personal Application continuous personal continuous personal continuous personal continuous personal development, , a highly development, is development, is development, is development, is insightful limited and simplistic adequate with some comprehensive with comprehensive with understanding of the insight insight a high level of relationship between insight these components Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 20 DBE/PAT 2020 NSC ANNEXURE E: ESSAY ASSESSMENT TOOL RUBRIC CATEGORY MARK % LEVEL DESCRIPTORS Well organised, comprehensive and coherent, polished structure. Supported by an exceptionally high level of competence. Able to process information into original Outstanding 23–25 interpretation and thoughtful selection of facts. Uses a variety of original and/or achievement relevant dramatic references. Insightful, fluent, observation and knowledge powerfully expressed. Well organised, detailed and coherent, polished structure. Supported by a high Meritorious level of competence to process information with an original interpretation and 20–22 achievement careful selection of facts. Using original or unusual selection of relevant dramatic references. Shows insight, observation and knowledge well expressed. Organised, detailed, some level of competence, some slight flaws evident in structure. Interesting reading, clear statements, convincing, simple direct language. Substantial 17–19 Supported by a selection of relevant dramatic references. Shows good grasp of the achievement theme/task, some insightful statements. Obvious care and effort taken with presentation. Structure not always logical or organised, reasonable effort with presentation. Displays a basic understanding but tends towards mechanistic and stereotyped Adequate 13–16 responses at times. Adequate selection of relevant 'dramatic' references. Adequate achievement reading but appears memorised. Not always a high level of insight, sometimes unimaginative but has some ability to justify discussion. Not always organised or logically constructed. Not always enough information, Moderate 10–12 some flashes of insight. Limited selection of information. Poor language skills. achievement Argument lacks supporting discussion. Rambling – no structure, limited vocabulary, little attempt to present information in Elementary 6–9 an acceptable manner. Very little information, jumbled, not easy to follow, often achievement irrelevant. Poor language skills. Argument lacks supporting discussion. Incoherent, very little work, limited skills. Irrelevant information provided, lacking Not achieved 0–5 any supporting discussion. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 21 DBE/PAT 2020 NSC ANNEXURE F: RESEARCH ASSESSMENT TOOL RUBRIC CATEGORY MARK % LEVEL DESCRIPTORS Well organised, comprehensive and coherent, polished structure. Supported by an exceptionally high level of competence. Able to process information into original interpretation and thoughtful selection of facts. Outstanding 23–25 Uses a variety of original and/or relevant dramatic references and/or film achievement clips. Insightful, fluent, observation and knowledge powerfully expressed. If models or mixed media are used they are well executed and compliment the research. Well organised, detailed and coherent, polished structure. Supported by a high level of competence to process information with an original Meritorious interpretation and careful selection of facts. Using original or unusual 20–22 achievement selection of relevant dramatic references and/or film clips. Shows insight, observation and knowledge well expressed. If models or mixed media are used they complement to the research. Organised, detailed, some level of competence, some slight flaws evident in structure. Interesting reading, clear statements, convincing, simple Substantial direct language. Supported by a selection of relevant dramatic references 17–19 achievement and/or film clips. Shows good grasp of the theme/task, some insightful statements. Obvious care and effort taken with presentation. If models or mixed media are used they link to the research. Structure not always logical or organised, reasonable effort with presentation. Displays a basic understanding but tends towards mechanistic and stereotyped responses at times. Adequate selection of Adequate 13–16 relevant dramatic references and/or film. Adequate reading but appears achievement memorised. Not always a high level of insight, sometimes unimaginative but has some ability to justify discussion. If models or mixed media are used they are not always supported by the research. Not always organised or logically constructed. Not always enough Moderate information, some flashes of insight. Limited selection of information. Poor 10–12 achievement language skills. Argument lacks supporting discussion. Any models or mixed media used are not well executed or particularly relevant. Rambling – no structure, limited vocabulary, little attempt to present information in an acceptable manner. Very little information, jumbled, not Elementary 6–9 easy to follow, often irrelevant. Poor language skills. Argument lacks achievement supporting discussion. Unlikely to have a supporting model, any mixed media will be poorly executed. Incoherent, very little work, limited skills. Irrelevant information provided, Not achieved 0–5 lacking any supporting discussion. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 22 DBE/PAT 2020 NSC ANNEXURE G: EXTRACT ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Preparation The learner knows the words of the The learner knows the words, but The learner does not know the scene and shows evidence of there is some evidence of words of the scene and does not thought, planning and rehearsal. uncertainty or lack of rehearsal. show evidence of thought, planning and rehearsal. Under- The learner demonstrates an There is evidence of some The learner demonstrates little or standing of understanding of the scene as it understanding of the scene, but no understanding of the scene as it scene stands within the context of the certain aspects have been stands within the context of the play as a whole. S/he understands overlooked, or this is not consistent play as a whole. S/he does not the basic dilemma/conflict of the throughout. There may be a understand the basic scene and the characters and their possible misinterpretation on the dilemma/conflict of the scene, motivations. basis of the given circumstances. his/her character and their motivations. There is complete misinterpretation of the given circumstances. Vocal The learner demonstrates an The learner is partially successful The learner is unsuccessful in character- understanding of the elements of in creating and sustaining vocal creating and sustaining vocal isation voice work and to communicate the characterisation, or there may be characterisation, or there is vocal personality, background, class, indications of vocal strain. Certain strain throughout the performance. age, education and status of the aspects of the characterisation The vocal characterisation is speaker. S/he is able to interpret a may be inappropriate for the inappropriate for the particular text, make appropriate choices for particular character or context. character or context. characterisation and use these chosen characteristics without vocal strain. These characteristics may include pitch, intonation, range, rhythm, accent, tone and quality in order to successfully and appropriately convey the voice of their character. Vocal clarity The learner is able to speak The learner is partially successful The learner is unsuccessful in distinctly and audibly. S/he is able in speaking distinctly and audibly. speaking distinctly and audibly. to use the appropriate volume for a There are momentary lapses, or Volume can only be attained with space, without vocal strain. there are moments of strain. vocal strain. Physical The learner demonstrates an ability The learner is partially successful The learner is unsuccessful in character- to adapt their body in terms of in creating and sustaining a creating and sustaining a physical isation posture, energy, weight, size and physical characterisation, or there characterisation, or there is quality of gestures, physical may be indications of unnecessary excessive unnecessary tension rhythms and habits in order to tension. Certain aspects of the displayed throughout the successfully and appropriately characterisation may be performance. The physical convey the physicality of his/her inappropriate for the particular characterisation is inappropriate for character. character or context. the particular character or context. Stage sense The learner demonstrates an ability The learner is partially successful The learner is unsuccessful in – use of to use the stage space in using the stage space using the stage space space appropriately and interestingly, in a appropriately and interestingly. appropriately and interestingly. way that the performance This may be due to self- He/She is consistently self- communicates clearly to the consciousness, upstaging of conscious, upstages others, audience and indicates others, and uncertainty in moments uncertain and moves often without understanding of the changing or unmotivated movements at motivation. dynamics of the relationship being times. explored. All movement is motivated. Emotional The learner demonstrates an ability The learner is partially successful in The learner is unsuccessful in connection to connect with the emotions of terms of connecting with the terms of connecting with the his/her character appropriately and emotions of his/her character emotions of his/her character effectively in such a way as to appropriately and effectively; he/she appropriately and effectively; convince the audience of the truth may not be totally convincing at all he/she is not at all convincing, or of these emotions. moments, or may react their emotional choices are entirely inappropriately in some moments. inappropriate. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 23 DBE/PAT 2020 NSC EXTRACT ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Playing of The learner demonstrates an The learner is partially successful The learner is unsuccessful in subtext understanding of subtext and in terms of playing subtext and terms of playing subtext and intention, in order to make a intentions, and making the intentions. Lines and actions seem character's lines and actions character's lines and actions unmotivated, there is little evidence understandable to an audience. understandable to an audience. of thinking through the subtext, The character's inner life is The character's inner life is not fully lines are recited by rote and the explored and sustained throughout sustained throughout the character's inner life is not the performance. performance. sustained throughout the performance. Interaction – The learner demonstrates the The learner is inconsistent in terms There is little or no evidence of listening ability to stay in character when of staying in character when not staying in character when not not speaking or not being the speaking or not being the focus of speaking or not being the focus of focus of attention and continues to attention; reactions to the other attention; there is little reaction to react and listen to the other characters and listening are not the other characters and little or no characters on stage at all times. sustained throughout the scene. listening. Development The learner demonstrates an The learner is inconsistent in The learner is unaware of their of understanding of his/her demonstrating his/her character's character's status in relation to the relationship character's status in relation to the status in relation to the other other characters in the scene; the other characters in the scene and characters in the scene; the relationship between the he/she allows the relationship relationship between the characters does not grow, develop between the characters to grow, characters does not grow, develop and change through the course of develop and change appropriately. and change appropriately. the scene. Believability The learner is believable at all The learner is believable in some The learner is seldom believable times within the context of the moments within the context of the within the context of the scene or scene or play. scene or play. play. Structure of The learner demonstrates an The scene does not have a There is little evidence of structure, scene understanding of how the sufficiently clear beginning, middle no real sense of a beginning, playwright has structured the and end. The climax is not middle and end, and the climax is scene. The scene has a clear completely realised. not realised. beginning, middle and end. There is a climax or high point to the scene. Creation of The learner demonstrates the There is some attempt to interpret There is little or no attempt to appropriate ability to interpret genre and style genre and style appropriately but interpret genre and style genre/style appropriately and to fulfill the the demands of the genre/style are appropriately and the demands of demands of the genre/style in not fully realised throughout the the genre/style are not realised such aspects as relationship to the scene. throughout the scene. audience, believability within style, timing, appropriate physical action etc. Impact of The scene is memorable, effective The scene has some memorable, The scene has few or no scene and engaging. effective, engaging moments, but memorable, effective, engaging these are inconsistent. moments. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 24 DBE/PAT 2020 NSC ANNEXURE H: MONOLOGUE ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Preparation The learner knows the words of The learner knows the words, but The learner does not know the the monologue and shows there is some evidence of words of the monologue and does evidence of thought, planning and uncertainty or lack of rehearsal. not show evidence of thought, rehearsal. planning and rehearsal. Understanding The learner demonstrates an There is evidence of some The learner demonstrates little or of monologue exceptional understanding of the understanding of the monologue, no understanding of the monologue as it stands within the but certain aspects have been monologue as it stands within the context of the play as a whole. overlooked, or this is not consistent context of the play as a whole. S/he understands the basic throughout. There may be a S/he does not understand the dilemma/conflict of the monologue, possible misinterpretation on the basic dilemma/conflict of the his/her character and motivation. basis of the given circumstances. monologue, his/her character and motivation. There is complete misinterpretation on the basis of the given circumstances. Vocal The learner demonstrates a clear The learner is partially successful The learner is unsuccessful in character- understanding of how all the in creating and sustaining a vocal creating and sustaining a vocal isation elements of voice work come characterisation, or there may be characterisation, or there is vocal together to communicate the indications of vocal strain. Certain strain throughout the performance. personality, background, class, aspects of the characterisation may The vocal characterisation is age, education and status of the be inappropriate for the particular inappropriate for the particular speaker. S/he is able to interpret character or context. character or context. a text, make appropriate choices for characterisation and use these chosen characteristics without vocal strain. These characteristics may include: pitch, intonation, range, rhythm, accent, tone and quality in order to successfully and appropriately convey the character. Vocal clarity The learner speaks distinctly and The learner is partially successful The learner is unsuccessful in audibly. S/he is able to use the in speaking distinctly and audibly. speaking distinctly and audibly. appropriate volume for a space, There are momentary lapses, or Volume can only be attained with without vocal strain. there are moments of strain. vocal strain. Physical The learner demonstrates an The learner is partially successful The learner is unsuccessful in character- ability to adapt his/her body in in creating and sustaining a creating and sustaining a physical isation terms of posture, energy, weight, physical characterisation, or there characterisation, or there is size and quality of gestures, may be indications of unnecessary excessive unnecessary tension physical rhythms and habits in tension. Certain aspects of the displayed throughout the order to successfully and characterisation may be performance. The physical appropriately convey the inappropriate for the particular characterisation is inappropriate physicality of his/her character. character or context. for the character Stage sense The learner demonstrates an The learner is partially successful The learner is unsuccessful in — use of ability to use the stage space in using the stage space using the stage space space appropriately and interestingly, in appropriately and interestingly. appropriately and interestingly. such a way that the performance This may be due to self- He/she is consistently self- communicates clearly to the consciousness and uncertainty in conscious is uncertain and moves audience. All movement is moments or unmotivated often without motivation. motivated. (Note: In a monologue, movements at times. stillness may be appropriate; however, then the focus should be on how the size of the playing space needs to be filled in order for the audience to be affected by the performance.) Emotional The learner demonstrates an The learner is partially successful The learner is unsuccessful in connection ability to connect with the emotions in terms of connecting with the terms of connecting with the of his/her character appropriately emotions of his/her character emotions of his/her character and effectively in such a way as to appropriately and effectively; appropriately and effectively; convince the audience of the truth he/she may not be totally he/she is unconvincing, or his/her of these emotions. convincing at all moments, or emotional choices are entirely she/he may react inappropriately at inappropriate. certain moments. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 25 DBE/PAT 2020 NSC MONOLOGUE ASSESSMENT TOOL RUBRIC MARKS 16-25 8-15 0-7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Playing of The learner demonstrates an The learner is partially successful in The learner is unsuccessful in subtext understanding of subtext and terms of playing subtext and playing subtext and intentions. intention, in order to convey the intentions, and conveying the Lines and actions seem character meaningfully to an character meaningfully to an unmotivated, there is little audience. The character's inner audience. The character's inner life evidence of thinking through the life is explored and sustained is not fully sustained throughout the subtext, lines are recited by rote throughout the performance. performance. and the character's inner life is not sustained throughout the performance. Interpretation The learner interprets the The learner is partially successful in The learner is unsuccessful in of character character intelligently, making interpreting the character; certain interpreting the character, he/she choices which are effective and choices are not as effective or makes completely inappropriate appropriate, based on his/her appropriate as is desirable, or there choices, which are not effective knowledge of the play from which is evidence of a lack of and there is evidence of the monologue comes. understanding of the given misunderstanding of the given circumstances of the play. circumstances of the play. Relationship The learner demonstrates the The learner is partially successful in The learner is unsuccessful in to listener ability to create the invisible creating the invisible listener creating the invisible listener listener through visualisation or, if through visualisation or through through visualisation. There is little appropriate, through using the using the audience as the listener. understanding of his/her audience as this listener. S/He There is some understanding of character's status in relation to the demonstrates an understanding of his/her character's status in relation listener or what their possible his/her character's status in to the listener, but little sense of responses may be. relation to the listener and his/her what responses there are. possible responses to what is being said throughout the monologue. Believability The learner is believable at all The learner is believable in some The learner is seldom believable times within the context of the moments within the context of the within the context of the monologue. monologue. monologue. Structure of The learner demonstrates an The learner does not have a There is little evidence of structure, monologue understanding of how the sufficiently clear beginning, middle no real sense of a beginning, playwright has structured the and end. The climax is not middle and end, and the climax is monologue. The monologue has a completely realised. not realised. clear beginning, middle and end. Rhythms/ The learner demonstrates an The learner does not consistently There is little or no variety within Shape of understanding of the ebb and flow create sufficient variety within the the monologue, pace is too regular monologue of the monologue, the use of pace monologue, pace is at times too or monotonous and there is no to highlight or build to a climax, regular or monotonous and there is evidence of different beats within the shifting rhythms of different little evidence of different beats the monologue. beats within the monologue. within the monologue. Creation of The learner demonstrates the There is some attempt to interpret There is little or no attempt to appropriate ability to interpret genre and style genre and style appropriately but interpret genre and style genre/style appropriately and then fulfill the the demands of the genre/style are appropriately and the demands of demands of the genre/style in not fully realised throughout the the genre/style are not realised terms of such aspects as monologue. throughout the monologue. relationship to the audience, believability within style, timing, appropriate physical action etc. Impact of The monologue is memorable, The monologue has some The monologue has few or no monologue effective and engaging. memorable, effective, engaging memorable, effective, engaging moments, but these are moments. inconsistent. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 26 DBE/PAT 2020 NSC ANNEXURE I: MOVEMENT ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 ASSESSMENT ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED CRITERIA Practical/ The learner uses a wide range of The learner is able to use a good The learner is able to use a limited Performance Skills movements to create sequences range of movements to create range of movements to create 1. The ability to and is able to understand and use sequences and shows an sequences and shows little understand and use a various styles and processes. The understanding of styles and understanding of the use of space, range of movements, learner shows a good processes of movement forms. time and movement dynamics. choreographic styles understanding of the use of space, and processes. time and dynamics. 2. The ability to show The learner performs clearly and The learner is able to perform The learner is able to perform competence and confidently so that the movement ideas quite well so that his/her some movement ideas clearly and confidence in ideas are understood by those movement ideas are understood. now needs to develop more movement watching. confidence when showing his/her performance so that work to others. ideas are understood. Experimentation The learner uses a wide range of The learner is beginning to use With help the learner can use (Development and stimuli and accompaniments with some stimuli and accompaniments some stimuli and accompaniments realisation of ideas) confidence to create complex with confidence to create simple to create simple sequences. The 1. The ability to use a sequences and show excellent sequences and is developing a learner is able to use simple variety of stimuli, use of various movement styles. range of movement styles. movement styles to complete an accompaniments and item. movement styles to create sequences. 2. The ability to extend The learner is able to develop a With increasing confidence the With help and encouragement the and develop an idea simple idea into a complex learner is able to develop an idea, learner is able to develop a simple from the original sequence making clear decision trying out and choosing idea trying out and choosing stimulus and to try out about his/her work. The learner movements in order to complete movements that he/she feels fit ideas and select and can explain his/her reasons for the item. the item. reject them with reason selecting certain movements with and confidence in order confidence and use movement to complete a task. vocabulary to explain what he/she means. Critical Awareness The learner is able to make The learner is able to make When prompted the learner can 1. The ability to make detailed and analytical comments comments that help to improve make comments on movement analytical comments about movement work that lead to his/her own and other people's work his/she has done to help which helps improve improvements in structure and work. improve the work. the structure and performance. performance of own and others' work. 2. The ability to The learner can see and make The learner is able to make The learner is able to see obvious compare and contrast subtle connections and connections between different connections between different the work of different comparisons between a variety of movement works and styles movement works with help and movement styles. movement styles and is able to encouragement from the teacher. describe clearly what he/she means. 3. The ability to The learner shows a clear The learner is able to talk about With prompting the learner can understand the understanding of movement forms movement using appropriate talk about why he/she likes a difference between and structure through the words and is beginning to be movement item using words to objective judgments comments and vocabulary he/she aware of his/her own movement describe the movement content and personal uses. The learner is aware of preferences. (e.g. line, shape, rhythm, preference when his/her own preferences in dynamics, etc.) creating, using and movement and is able to withhold watching movement them or use them appropriately. forms. Personal and Social The learner works co-operatively The learner usually works co- The learner can sometimes work Skills as a member of a group and operatively with other people co-operatively with other people 1. The ability to work contributes and shares many contributing some ideas to the sharing some ideas in order to co-operatively as a ideas with the group. work of the group. help complete a group task. member of a group, sharing ideas so that the task is completed. 2. The ability to work at The learner is very well organised The learner is able to organise The learner can develop and developing an idea and and is able to develop ideas his/her work and can develop complete some items of work on organising work successfully on his/her own simple ideas on his/her own. his/her own with help and independently. encouragement from the teacher. 3. The ability to sustain The learner remains interested in The learner is usually able to keep The learner is sometimes able to focus and effort through the task through all the stages of working on an idea from beginning keep working on an idea from all stages and kinds of development and works hard even to end. beginning to end when helped and work. when the task is challenging. encouraged. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 27 DBE/PAT 2020 NSC ANNEXURE J: POETRY ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Preparation The learner knows the words of the The learner knows the words, but The learner does not know the words poem and shows evidence of there is some evidence of uncertainty of the poem and does not show thought, planning and rehearsal. or lack of rehearsal. evidence of thought, planning and rehearsal. Under- The learner demonstrates an The learner demonstrates some The learner does not demonstrate an standing understanding of the poem and the understanding of the poem and his/her understanding of the poem and poem interpretation is appropriate and interpretation should be appropriate his/her interpretation is not justified. and justified. appropriate or justified. Expression of The learner has an understanding The learner is only partially successful The learner is not successful in meaning of how to convey meaning through in conveying the meaning of the poem. conveying the meaning of the poem. the use of such elements as The meaning is not always fully clear The meaning is not unclear or phrasing, pause, emphasis, or expressive. inexpressively conveyed. intonation and tone. S/he is able to interpret a text using these elements and communicates the meaning of the text clearly and expressively. Vocal The learner is able to create a The learner's voice is not consistently The learner's voice is not balanced expressive- balanced, pleasant voice quality, balanced or pleasant to listen to, or or pleasant to listen to, or there is ness which is unique, appropriate to there is some evidence of vocal strain. evidence of excessive vocal strain. them and shows no signs of strain. S/he is not completely successful in S/he is unsuccessful in exploring and S/he explores and utilises the exploring and utilising the expressive, utilising the expressive, interpretative expressive, interpretative and interpretative and musical aspects of and musical aspects of speech musical aspects of speech sounds speech sounds in order to express sounds in order to express subtleties in order to express subtleties of subtleties of meaning, and convey of meaning, and convey meaning, and convey mood/atmosphere. mood/atmosphere. mood/atmosphere. Vocal clarity The learner is able to speak The learner is partially successful in The learner is unsuccessful in distinctly and audibly. S/he is able speaking distinctly and audibly. There speaking distinctly and audibly. to use the appropriate volume for a are momentary lapses, or there are Volume can only be attained with space, without vocal strain. moments of strain. vocal strain. Physical work The learner chooses movement or The learner's choices in terms of The learner chooses movement or stillness appropriate to the poem movement or stillness are not always stillness which is inappropriate to the and to their interpretation of it. S/he appropriate to the poem OR there is a poem OR there is little or no control demonstrates control over his/her lack of control over his/her physicality over his/her physicality OR there is body in order to release in moments OR there is evidence of evidence of excessive unnecessary unnecessary tension and establish unnecessary tension at times OR the tension OR the body is not optimal alignment and balance. body is not fully integrated into the integrated into the poem at all. The body supports the voice and is poem. integrated with it. Emotional The learner is able to connect with The learner is partially successful in The learner is unsuccessful in terms connection the emotions of the persona in the terms of connecting with the emotions of connecting with the emotions of poem appropriately and effectively of the persona of the poem the persona of the poem in such a way as to convince the appropriately and effectively; they may appropriately and effectively; he/she audience of the truth of these not be totally convincing at all is not at all convincing, or his/her emotions. moments, or they may react emotional choices are entirely inappropriately in certain moments. inappropriate. Creation of The learner uses vocal and physical The creation of mood is inconsistent, There is little or no evidence of appropriate expressiveness in order to create a inappropriate or not fully sustained understanding of the mood, or the mood mood/atmosphere appropriate to through the poem. ability to create it effectively using the poem. voice and body. Use of poetic The learner demonstrates a Not all poetic devices are handled with Poetic devices are not well handled. devices mastery of the poetic devices mastery. inherent in their poem, including utilisation of pause, line and verse lengths, rhythm, meter, rhyme, imagery, register, tone. Impact of The learner's presentation is The poem has some memorable, The poem has few or no memorable, poem memorable, effective and engaging. effective, engaging moments, but effective, engaging moments. these are inconsistent. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 28 DBE/PAT 2020 NSC ANNEXURE K: PROSE ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Preparation The learner knows the words of the The learner knows the words, but The learner does not know the piece of prose and shows evidence there is some evidence of words of the piece of prose and of thought, planning and rehearsal. uncertainty or lack of rehearsal. does not show evidence of thought, planning and rehearsal. Understanding of The learner demonstrates an The learner must demonstrate The learner does not demonstrate piece of prose understanding of the piece of prose some understanding of the piece of an understanding of the piece of and his/her interpretation is prose and his/her interpretation prose and his/her interpretation is appropriate and justified. should be appropriate and justified. not appropriate or justified. Expression of The learner conveys meaning The learner is only partially The learner is not successful in meaning successfully through the use of successful in conveying the conveying the meaning of the piece such elements as phrasing, pause, meaning of the piece of prose. The of prose. The meaning is unclear emphasis, intonation and tone. meaning is not always fully clear or and lacks expression. S/he is able to interpret a text using expressive. these elements and communicates the meaning of the text clearly and expressively. Vocal The learner uses a balanced, The learner's voice is not The learner's voice is not balanced expressiveness pleasant voice quality, which is consistently balanced or pleasant to or pleasant to listen to, or there is unique, appropriate to him/her and listen to, or there is some evidence evidence of excessive vocal strain. shows no signs of strain. S/he of vocal strain. S/he is not S/he is not at all successful in explores and utilises the expressive, completely successful in exploring exploring and utilising the interpretative and musical aspects and utilising the expressive, expressive, interpretative and of speech sounds in order to interpretative and musical aspects musical aspects of speech sounds express subtleties of meaning, and of speech sounds in order to in order to express subtleties of convey mood/atmosphere. express subtleties of meaning, and meaning, and convey convey mood/atmosphere. mood/atmosphere. Vocal clarity The learner is able to speak The learner is partially successful in The learner is unsuccessful in distinctly and audibly. S/he is able speaking distinctly and audibly. speaking distinctly and audibly. to use the appropriate volume for a There are momentary lapses, or Volume can only be attained with space, without vocal strain. there are moments of strain. vocal strain. Physical work The learner chooses movement or The learner's choices in terms of The learner chooses movement or stillness appropriate to the piece of movement or stillness are not stillness which is inappropriate to prose and to his/her interpretation of always appropriate to the piece of the piece of prose OR there is little it. S/he demonstrates control over prose OR there is a lack of control or no control over their physicality his/her body in order to release over his/her physicality in moments OR there is evidence of excessive unnecessary tension and establish OR there is evidence of unnecessary tension. There is little optimal alignment and balance. unnecessary tension at times. or no evidence of creativity and The body is used creatively and There is only some evidence of expressiveness in the use of body. expressively to assist in the creativity and expressiveness in the dramatisation of the piece of prose. use of body. Dramatisation as The learner uses original, effective The learner is partially effective or The learner is unsuccessful in terms performance theatrical means to dramatise the original in terms of using theatrical of using theatrical means to piece piece of prose so that it works as a means to dramatise the piece of dramatise the piece of prose so that piece of performance. prose so that it works as a piece of it works as a piece of performance. performance. Use of The learner is aware of the style of The learner is partially successful in The learner is unsuccessful in using appropriate their story and the narrative using the appropriate narrative appropriate narrative techniques or narrative techniques inherent in it. (e.g. techniques, or uses some but not uses completely inappropriate techniques intsomi telling, fairy tales or myths) others, or uses some inappropriate narrative techniques, which do not S/He uses appropriate techniques narrative techniques, which do not work with the style of his/her story. in his/her performance, including: work with the style of their story. third-person narration, character creation, use of song or chant etc. Creation of The learner demonstrates an ability There is some attempt to interpret There is little or no attempt to appropriate to use vocal and physical genre and style appropriately but interpret genre and style mood/style/ expressiveness in order to create a the demands of the genre/style are appropriately and the demands of genre mood/style/genre appropriate to the not fully realised throughout the the genre/style are not realised piece of prose. prose piece. throughout the prose piece. Impact of prose The learner's presentation is The prose piece has some The prose piece has few or no piece memorable, effective and engaging. memorable, effective, engaging memorable, effective, engaging moments, but these are moments. inconsistent. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 29 DBE/PAT 2020 NSC ANNEXURE L: DESIGN ASSESSMENT TOOL RUBRIC SET, COSTUME, MUSIC, SOUND EFFECTS, SET PIECES, SPECIAL EFFECTS, PROPERTIES, LIGHTING, MAKE-UP LEVEL 1 2 3 4 5 DESCRIP- 0–7 8–13 14–19 20–22 23–25 TOR Role of the The candidate fails The candidate The candidate The candidate The candidate designer to demonstrate demonstrates demonstrates demonstrates complete demonstrates outstanding understanding that limited adequate understanding that the and insightful the role of the understanding that understanding that the role of the Designer is to understanding that the designer is to the role of the role of the Designer is research, conceptualise role of the Designer is to research, Designer is to to research, and actualise the world of research, conceptualise conceptualise and research, conceptualise and the play through design and actualise the world of actualise the world conceptualise and actualise the world of elements e.g. set, the play through design of the play through actualise the world the play through costume, music, sound elements e.g. set, design elements of the play through design elements e.g. effects, set pieces, costume, music, sound e.g. set, costume, design elements set, costume, music, special effects, effects, set pieces, music, sound e.g. set, costume, sound effects, set properties, lighting, make- special effects, effects, set pieces, music, sound pieces, special effects, up. properties, lighting, make- special effects, effects, set pieces, properties, lighting, up. properties, special effects, make-up. lighting, make-up. properties, lighting, make-up. Given The candidate fails The candidate The candidate The candidate The candidate circum- to demonstrate demonstrates demonstrates demonstrates complete demonstrates stances understanding of limited adequate and highly effective outstanding, insightful how to interpret understanding of understanding of how understanding of how to and highly effective and realise in how to interpret to interpret and realise interpret and realise in understanding of how to her/his design the and realise in in her/his design the her/his design the given interpret and realise in given circum- her/his design the given circumstances circumstances e.g. plot, her/his design the given stances e.g. plot, given e.g. plot, the facts, the the facts, the incidents, circumstances e.g. plot, the facts, the circumstances incidents, the period, the period, the time and the facts, the incidents, incidents, the e.g. plot, the facts, the time and place of place of the action and the period, the time and period, the time the incidents, the the action and the way the way of life in the play. place of the action and and place of the period, the time of life in the play. the way of life in the play. action and the way and place of the of life in the play. action and the way of life in the play. Background The candidate fails The candidate The candidate The candidate The candidate and context to demonstrate demonstrates demonstrates demonstrates complete demonstrates understanding of limited adequate and highly effective outstanding, insightful how to interpret understanding of understanding of how understanding of how to and highly effective and realise in how to interpret to interpret and realise interpret and realise in understanding of how to her/his design the and realise in in her/his design the her/his design the interpret and realise in background and her/his design the background and background and context her/his design the context of the play: background and context of the play: of the play: social, background and context social, political, context of the social, political, political, religious, of the play: social, religious, play: social, religious, economic, economic, artistic, political, religious, economic, artistic, political, religious, artistic, historical, historical, theatrical. economic, artistic, historical, economic, artistic, theatrical. historical, theatrical. theatrical. historical, theatrical. Theatre The candidate fails The candidate The candidate The candidate The candidate spaces to demonstrate demonstrates demonstrates demonstrates complete demonstrates understanding of limited adequate and highly effective outstanding, insightful how to create understanding of understanding of how understanding of how to and highly effective appropriate how to create to create appropriate create appropriate understanding of how to designs for the appropriate designs for the designs for the different create appropriate different stage designs for the different stage spaces stage spaces e.g. designs for the different spaces e.g. different stage e.g. proscenium , proscenium , arena, stage spaces e.g. proscenium , spaces e.g. arena, thrust, etc. thrust, etc. proscenium , arena, arena, thrust, etc. proscenium , thrust, etc. arena, thrust, etc. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 30 DBE/PAT 2020 NSC DESIGN ASSESSMENT TOOL RUBRIC SET, COSTUME, MUSIC, SOUND EFFECTS, SET PIECES, SPECIAL EFFECTS, PROPERTIES, LIGHTING, MAKE-UP LEVEL 1 2 3 4 5 DESCRIP- 0–7 8–13 14–19 20–22 23–25 TOR Generating The candidate fails The candidate The candidate The candidate The candidate shows ideas for to explore ideas for demonstrates demonstrates adequate demonstrates good evidence of excellent design possible design moderate generation generation of ideas for generation of ideas idea-generation and conceptual- elements in any of ideas for possible possible design for possible design brainstorming, with a isation detail or does so in design elements in elements, with some elements, with a good range of visual and only one design at least two of the selection of visual and selection of visual sensory material category. design categories. sensory material and sensory material collected for use in the collected for use in the collected for use in final design final design, in at least the final design, in at conceptualisation in at two of the design least three of the least three of the design categories. design categories, categories, demonstrating some demonstrating excellent original thinking. original thinking and creativity. Design The candidate fails The candidate The candidate The candidate The candidate elements; to demonstrate demonstrates demonstrates adequate demonstrates good demonstrates exceptional visual and understanding, moderate understanding, selection understanding, understanding, selection aural selection and understanding, and creation of selection and creation and creation of creation of selection and appropriate and relevant of appropriate and appropriate and relevant appropriate and creation of design elements in at relevant design design elements in at relevant design appropriate and least two of the design elements in at least least three of the design elements, or does so relevant design categories. three of the design categories. in only one design elements in at least categories. category. two of the design categories. Realisation The candidate fails The candidate The candidate realises The candidate The candidate realizes of design to realise his/her realises his/her his/her ideas practically realises his/her ideas his/her ideas practically elements ideas practically in ideas practically in in the final design of the practically in the final in the final design of the the final design of the final design of piece, in at least two design of the piece, in piece, in at least three the piece. This may the piece, in one or design categories to at least three design design categories, to be due to the use of two of the design some extent. Some categories, to good exceptional effect. All inappropriate categories. Some design elements may be effect. The majority of design and technical materials, design elements stronger than others, design elements work elements work insufficient care may be stronger with some technical seamlessly and there seamlessly, supporting taken, equipment than others, with glitches in realisation. are few, if any, the final performance and malfunctioning etc. noticeable technical technical glitches in its reception by the glitches in realisation. audience. realisation. Creating a The candidate fails The candidate The candidate brings The candidate brings The candidate brings cohesive to bring the different brings different different design different design design elements together theatrical design elements design elements elements together in at elements together in seamlessly and to whole together so that they together in one or least two design at least three design exceptional effect so that work cohesively and two design cate- categories but there is categories, to good they together contribute together contribute gories but there are something missing or at effect contributing to to a cohesive theatrical to a cohesive some elements odds which prevent the the creation of a whole of considerable theatrical whole. missing or at odds, creation of a cohesive cohesive theatrical impact and power. which prevent the theatrical whole. whole. Design elements are creation of a found across three or cohesive theatrical more design categories. whole. Director/ The candidate fails The candidate The candidate submits The candidate The candidate submits a Theatre to submit a *D/TMN submits a *D/TMN a *D/TMN with adequate submits a *D/TMN *D/TMN with outstanding, Maker with evidence of with limited and evidence of research, with complete and insightful and highly Notebook research, incomplete evidence preliminary and final insightful evidence of effective evidence of *(D/TMN) preliminary and final of research, prelimi- technical plans and research, preliminary research, preliminary and technical plans and nary and final sketches such as and final technical final technical plans and sketches such as technical plans and lighting, sound, etc. with plans and sketches sketches such as lighting, lighting, sound, etc. sketches such as artistic motivations and such as lighting, sound, etc. with artistic with artistic lighting, sound, etc. execution of the plan. sound, etc. with motivations and motivations and with artistic artistic motivations execution of the plan. execution of the motivations and and execution of the plan. execution of the plan. plan. Interview The candidate fails The candidate The candidate's The candidate's The candidate's to arrive for the arrives for the responses to the responses to the responses to the interview or fails to interview; responses interview panel's interview panel's interview panel's provide satisfactory to the interview questions and enquiries questions and questions and enquiries answers posed by panel's questions are adequately and enquiries are are outstanding, insightful the interview panel. are limited and often partly satisfactorily insightful and well- and highly effectively not satisfactorily motivated. motivated. motivated. motivated. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 31 DBE/PAT 2020 NSC ANNEXURE M: DIRECTING/THEATRE MAKING ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARKS 0–7 8–13 14–19 20–22 23–25 DESCRIP- NOT MODERATELY ADEQUATE MERITORIOUS OUTSTANDING TOR ACHIEVED ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT The role of the The candidate fails to The candidate partially The candidate The candidate has a The candidate has an director/ understand that the understands that the adequately understands complete understanding exceptional insightful theatre maker role of the director/ role of the *D/TM is to that the role of the *D/TM of the role of the *D/TM to understanding of the role *(D/TM) theatre maker is to be responsible for the is to be responsible for be responsible for the of the *D/TM to be be responsible for overall aural and visual the overall aural and overall aural and visual responsible for the overall the overall aural and world of the play. e.g. visual world of the play. world of the play. e.g. aural and visual world of visual world of the creating a vision, e.g. creating a vision, creating a vision, the play. e.g. creating a play. e.g. creating a applying appropriate applying appropriate applying appropriate vision, applying vision, applying styles and genres, styles and genres, styles and genres, appropriate styles and appropriate styles technical aspects, technical aspects, design technical aspects, design genres, technical and genres, technical design elements elements (lighting, sound, elements (lighting, sound, aspects, design elements aspects, design (lighting, sound, costume, make-up, set), costume, make-up, set), (lighting, sound, costume, elements (lighting, costume, make-up, the publicity (poster, the publicity (poster, make-up, set), the sound, costume, set), the publicity programme and programme and publicity (poster, make-up, set), the (poster, programme marketing) and finally marketing) and finally programme and publicity (poster, and marketing) and directing the actors and directing the actors and marketing) and finally programme and finally directing the their performances. their performances. directing the actors and marketing) and finally actors and their their performances. directing the actors performances. and their performances. Script The candidate fails to The candidate provides The candidate provides a The candidate provides a The candidate provides a analysis: provide an an incomplete and complete list of given complete list of given complete list of given Given appropriate list of limited list of given circumstances which is circumstances and circumstances and circum- given circumstances. circumstances which is wholly appropriate to the describes all of the describes all of the stances appropriate to the assigned play. flexible circumstances. flexible circumstances assigned play. with insight and creativity. Script The candidate fails to The candidate provides The candidate provides The candidate provides The candidate provides analysis: submit character incomplete character appropriate character insightful character insightful and creative Character objectives, thus objectives and objectives and obstacles objectives and obstacles character objectives and objectives & demonstrating a lack obstacles demonstrating an demonstrating a mastery obstacles demonstrating obstacles of understanding of demonstrating a limited understanding of the of the assigned play. mastery and creative the assigned play. understanding of the assigned play. understanding of the assigned play. assigned play. Script The candidate fails to The candidate submits The candidate submits an The candidate submits an The candidate submits an analysis: submit a script a limited script analysis adequate script analysis insightful script analysis insightful and creative Character analysis and and description of the and description of the and description of the script analysis and relation-ships description of character relationships character relationships character relationships description of the character which demonstrates a which demonstrates an which demonstrates a character relationships relationships thus limited understanding adequate understanding mastery of the assigned which demonstrates a demonstrating a lack of the assigned play. of the assigned play. play. complete and creative of understanding of mastery of the assigned the assigned play. play. Script The candidate fails to The candidate submits The candidate submits an The candidate submits an The candidate submits an analysis: submit an analysis of a limited analysis of the adequate analysis of the insightful analysis of the exceptionally creative Theme the themes in the themes in the play. themes in the play. themes in the play. and insightful analysis of analysis play. the themes in the play. Script The candidate fails to The candidate creates The candidate creates an The candidate creates a The candidate creates an analysis: create a director's a limited director's adequate but predictable unique director's vision in exceptionally unique and Director's/ vision in terms of the vision in terms of the and conventional terms of the aural and creative director's vision theatre aural and visual aural and visual world director's vision in terms visual world of the play. in terms of the aural and maker's world of the play. of the play. of the aural and visual visual world of the play. vision world of the play. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 32 DBE/PAT 2020 NSC DIRECTING/THEATRE MAKING ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARKS 0–7 8–13 14–19 20–22 23–25 DESCRIP- NOT MODERATELY ADEQUATE MERITORIOUS OUTSTANDING TOR ACHIEVED ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT Script The candidate fails to The candidate The candidate The candidate creatively The candidate, creatively, Analysis: translate the vision translates, but limitedly, adequately, but translates the vision for uniquely and with insight, Director/ for the play into the the vision for the play predictably, translates the the play into the concrete translates the vision for Theatre concrete aspects into the concrete vision for the play into the aspects required for a the play into the concrete maker's required for a play in aspects required for a concrete aspects play in the form of aspects required for a designs the form of sketches play in the form of required for a play in the sketches and or notesplay in the form of and or notes e.g. set, sketches and or notes form of sketches and or e.g. set, costume, sketches and or notes costume, lighting, e.g. set, costume, notes e.g. set, costume, lighting, sound, staging, e.g. set, costume, sound, staging, lighting, sound, lighting, sound, staging, movement, blocking, lighting, sound, staging, movement, blocking, staging, movement, movement, blocking, acting style and genre movement, blocking, acting style and blocking, acting style acting style and genre. acting style and genre in genre. and genre. an exceptionally creative manner. Rehearsal The candidate fails to The candidate arrives The candidate arrives on The candidate arrives The candidate arrives process: arrive on time for on time for most time for all scheduled sufficiently early to sufficiently early to Punctuality many rehearsals rehearsals and/or rehearsals and conduct warm-ups, conduct warm ups, and/or performances. performances. performances. physically and vocally, for physically and vocally, for all scheduled rehearsals all scheduled rehearsals and performances. and performances. Focus exercises and motivational sessions are conducted with the cast. Rehearsal The candidate fails to The candidate only at The candidate The candidate explores The candidate, with skill process: facilitate choices the times facilitates adequately facilitates and facilitates many and insight, explores and Character- actor has to make for choices the actor has choices the actor has to creative options in order facilitates many creative isation characterisation to make for make for characterisation to assist the actor in options in order to assist appropriate to the characterisation appropriate to the script determining the best the actor in determining script and director's appropriate to the and director's choices of the best choices of interpretation. script and director's interpretation. characterisation for the characterisation for the interpretation. script and director's script and director's interpretation. interpretation. Rehearsal The candidate fails to The candidate stays The candidate actively The candidate actively The candidate actively process: stay focused on focused on her/his concentrates during concentrates during concentrates during Concen- her/his work during work during rehearsals rehearsals and rehearsals and rehearsals and tration rehearsals and/or and/or performances. performances. performances and offers performances and offers performances. insights to the actors. creative and insightful options and insights to the actors. Rehearsal The candidate fails to The candidate The candidate uses The candidate uses The candidate uses process: use appropriate sometimes uses appropriate acting and appropriate acting and appropriate acting and Directing and acting and directing appropriate acting and directing terminology, e.g. directing terminology with directing terminology with acting terminology, e.g. directing terminology, directing: blocking, cross confidence, e.g. directing: confidence and effective (Stanis- directing: blocking, e.g. directing: blocking, over, masking. blocking, cross over, and clear communication lavski) cross over, masking, cross over, masking. Acting: magic if, masking. skills, e.g. directing: terminology Acting: magic if, Acting: magic if, concentration, given Acting: magic if, blocking, cross over, concentration, given concentration, given circumstances, units and concentration, given masking. circumstances, units circumstances, units objectives, emotion circumstances, units and Acting: magic if, and objectives, and objectives, memory, tempo-rhythm, objectives, emotion concentration, given emotion memory, emotion memory, relaxation. memory, tempo-rhythm, circumstances, units and tempo-rhythm, tempo-rhythm, relaxation. objectives, emotion relaxation. relaxation. memory, tempo-rhythm, relaxation. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 33 DBE/PAT 2020 NSC DIRECTING/THEATRE MAKING ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARKS 0–7 8–13 14–19 20–22 23–25 DESCRIP- NOT MODERATELY ADEQUATE MERITORIOUS OUTSTANDING TOR ACHIEVED ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT Rehearsal The candidate fails to The candidate The candidate The candidate The candidate process: understand the adequately understands the understands the understands the Performance differences, uses and understands the differences, uses and differences, uses and differences, uses and space conventions of differences, uses and conventions of various conventions of variousconventions of various various performance conventions of various performance spaces and performance spaces andperformance spaces and spaces and is not performance spaces is able to select an is able to select an is able to select a able to select an and is able to select an appropriate performance appropriate and creative creative and dynamic appropriate adequate performance space for the selected performance space for performance space for performance space space for the selected play and has utilised it in the selected play and has the selected play and has for the selected play. play.. a manner appropriate to utilised it in a creative utilised it in an insightful, the selected play. manner for the selected creative and unique play. manner for the selected play. Rehearsal The candidate fails to The candidate The candidate effectively The candidate effectively, The candidate creatively process: implement adequately implements and uniquely implements creatively and uniquely and dynamically, with Staging appropriate and appropriate and appropriate and effective implements appropriate unique insight, conventions effective staging effective staging staging conventions such and effective staging implements appropriate conventions such as conventions such as as up-stage, centre conventions such as up- and effective staging up-stage, centre up-stage, centre stage, stage, down stage, stage stage, centre stage, down conventions such as up- stage, down stage, down stage, stage left, left, stage right, prompt stage, stage left, stage stage, centre stage, stage left, stage right, stage right, prompt and and opposite prompt. right, prompt and down stage, stage left, prompt and opposite opposite prompt. opposite prompt. stage right, prompt and prompt. opposite prompt. Interview The candidate fails to The candidate arrives The candidate submits The candidate submits The candidate submits arrive for the for the interview but a complete and adequate a complete DTHN a complete DTHN interview or fails to submits an incomplete DTHN or fails to containing creative containing creative and submit a or limited DTHN or fails adequately provide evidence and provides unique evidence and director/theatre- to provide satisfactory satisfactory answers thoughtful and motivated provides thoughtful, maker notebook answers posed by the posed by the examination responses to the answers insightful and motivated (DTHN) or fails to examination panel. panel. posed by the examination responses to the answers provide satisfactory panel. posed by the examination answers posed by panel. the examination panel. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 34 DBE/PAT 2020 NSC ANNEXURE N: ASSESSMENT TOOL RUBRIC FILM MAKING 0–7 8–13 14–19 20–22 23–25 CRITERION NOT MODERATELY ADEQUATE MERITORIOUS OUTSTANDING ACHIEVED ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT Production File: Scripts must be correctly formatted for film. Presuming that scripts have to be adapted Script and script from existing works (plays, poems or prose), scripts must communicate the essence interpretation/ of the source work but must be adapted for screen in a way that is cinematic/audio- adaptation for film visual. Scripts must have an appropriate narrative arc with a sense of beginning middle and end – even if it is cyclical or repetitive. Scripts must 'show not tell'. Dialogue must be lean and not overburdened with detail. Production File: Learners should show extensive pre-production work in a production file which could Pre-production and also include a journal. This shows the thinking, planning and process behind the film production as well as indicating that the work as the candidate's own. Learners must include planning and documents such as treatments, notes on production design, a script outline, documents: shot- storyboards, a shot list, a call sheet (containing all the key details of the shoot). I think list, call-sheet, contingencies here are the 'plan Bs' that emerge during the process. This can also be contingencies, etc. included in the journal. Production File: This can be included in the file above but is a section specifically on the post- Post-production production process. This could include log sheets, other editing notes, notes on the documents and process and difficulties encountered (again, the Plan Bs) and journal notes on the reflection post production process as a whole. Cinematography Are shots well-composed? Have the shots been planned? Are shots appropriate for the content? Are shots motivated? Camera movement or stillness used well? Are visuals striking? Mise-en-scène Does the mise-en-scène tie in with and support the overall production design? How effectively has the location been used or a set been created? Efficacy of props, costumes, make-up, hair – has attention been paid to all of these? Audio elements/ Can we hear what's going on? How effectively has a soundscape been created, Effects including ambient sound? Has (royalty-free) music been used effectively to create mood and support or drive visuals and narrative? Have sound effects been used (where relevant) to enhance the production? Editing Does the editing of the film make sense? Is it smooth and free of unintentional errors? Does the learner appear to understand the 'grammar' of editing? Does the editing style enhance and complement the overall style of the film? Performance Is the casting appropriate? Has the director elicited performances which are elements appropriate in style to the piece? Are the performances engaging and convincing? (direction, choices, Do the performances adequately convey the narrative of the script? etc.) Overall impact of Do we understand what's going on? Has the filmmaker communicated clearly? Is the the film work as a whole engaging and satisfying? Do all the aspects (performance, visual, audio, editing) reinforce each other? Are we moved? Do we laugh? Does it have the desired effect? How original is the work? Does it stand out? Interview with the Can the candidates articulate their intentions regarding the piece? Can they discuss candidate their influences and interests and how they came to this idea? Can the candidate explain the choices they made at each stage of the production – including any changes they made during the process? Can they discuss the high and low moments of the process? Did they receive any help? Very importantly, is the work theirs? The journal and the interview are important in assessing this. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 35 DBE/PAT 2020 NSC FILM MAKING PRODUCTION PHASES AND TASKS CHECKLIST PRE-PRODUCTION PRODUCTION POST PRODUCTION The pre-production phase is Production begins once the The post production process the planning process of every footage is recorded. This begins after all the footage has task before production begins process will capture all the been captured scenes and information  Select a script (dramatic captured in the pre-production  Review the footage item) process  Create a paper edit  Analyse the script  Import picture and sound to  Break down the script into  Production meeting (script edit software on computer scenes analysis, scene breakdown,  Edit 1st rough draft footage  Brainstorm ideas storyboard, shots, schedules  Edit sound/music/dialogue  Create the story board  Prepare the location  Export for viewing  Cast the actors  Set up the set  Edit 2nd draft  Select props  Set up the shots  Complete title sequence  Select costume  Rehearse the scene  Complete credit list  Select locations  Shoot the scenes  Edit final draft  Finalise the crew  Log footage  Lock picture  Finalise lighting ideas  Record and reflect on all  Output project to final format  Finalise camera angles, above tasks in your Film  Make copies movements and shots Making Journal  Record and reflect on all  Create a shooting schedule above tasks in your Film  Obtain editing software, app Making Journal or programme  Familiarise yourself with the operations of the edit programme  Understand the working of cell phone  Record and reflect on all above tasks in your Film Making Journal PAT 1 PAT 2 PAT 2 To ensure the Short Film is on the same level of difficulty and within the same context as the Theme and Audition Programme, candidates must select a published poem OR prose OR monologue or Dialogue as the script. The final Short Film must not exceed two minutes in duration. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 36 DBE/PAT 2020 NSC ANNEXURE O: STAGE MANAGEMENT ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARK 0–7 8–13 14–19 20–22 23–25 DESCRIPTOR NOT MODERATELY ADEQUATE MERITORIOUS OUTSTANDING ACHIEVED ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT Prop list The candidate fails The candidate The candidate The candidate provides The candidate provides a props (where to provide a props provides a props list provides a props list a props list with list with evidence of all props and applicable) list or provides an with evidence of with evidence of allevidence of all props all scenes are included. The extremely limited only some props. props; most scenes and all scenes are functions of the props are also list. are included. included. Research included. Research around around suitable props suitable props is extensive and is provided. the best selections have been made. Costume list The candidate fails The candidate The candidate The candidate provides The candidate provides a list of (where to provide a provides a limited provides a list of all a list of all costumes all costumes and all scenes for applicable) costume list or and incomplete list costumes and some and all scenes for use use are indicated. Detail is extremely limited of costumes. No scenes for use are are indicated but list provided and the list is easy to list in evidence and scenes for use are indicated. lacks detail. Research navigate. Research around scenes for use are indicated. around suitable suitable costumes is extensive not indicated. costumes is provided. and the best selections have been made. Furniture list The candidate fails The candidate The candidate The candidate provides The candidate provides a (where to provide a provides a furniture provides a furniture a complete furniture complete furniture list, scenes for applicable) furniture list. list. Some furniture list of most furniture list, scenes for use are use are indicated and the is listed and scenes as well as most indicated and most function of each piece of for use are not scenes for use is functions are indicated. furniture. The list is easy to indicated. indicated. Research around navigate. Research around suitable furniture is suitable furniture is extensive and provided. the best selections have been made Cast list with The candidate fails The candidate The candidate Complete cast list is Complete cast list is supplied for contact numbers to provide a cast provides evidence of provides a complete supplied for each each scene with full contact list. some cast members cast list but not for scene with contact details via different mediums of listed for some each scene with most details in at least 1 communication. scene(s) with some contact details. medium of contact details. communication. Sound cues The candidate fails The candidate The candidate The candidate provides The candidate provides evidence (where to provide evidence provides evidence of provides evidence of evidence of indicated of indicated sound cues with applicable) of sound cues some sound cues indicated sound cues sound cues with impulse, reflecting speaker indicated. with sound levels with impulse impulse, reflecting selection and sound level, with indicated. reflecting speaker speaker selection and appropriate anticipation markers. selection and sound sound level but sound The sound level is appropriate to level. level not always for the performance space. appropriate to for the Placement of speakers has been performance space. considered and is effective. Light cues The candidate fails The candidate The candidate The candidate provides The candidate provides evidence (where to provide evidence provides evidence provides evidence evidence indicated in indicated in the stage manager applicable) indicated in the indicated in the indicated in the stage the stage manager prompt book, of all LX cues (consider stage manager stage manager manager prompt prompt book, of LX correctly indicated, with impulse equipment prompt book, of LX prompt book, of book, of LX cues cues, with impulse and appropriate anticipation available) cues indicated. some LX cues reflecting light area indicated, reflecting markings, reflecting light area reflecting light and light intensity as light area and light and light intensity appropriate to intensity. well as timing. intensity as well as the performance space as well as timing. timing. Movements noted The candidate fails The candidate The candidate The candidate provides The candidate provides evidence to provide notes of provides evidence of provides evidence of evidence of all of all movements noted with the movements some movements all movements noted movements noted with use of appropriate abbreviations indicated in the noted indicated in indicated in the stage the use of appropriate and reference to furniture and stage manager the stage manager manager prompt abbreviations, décor indicated in the stage prompt book. prompt book. book. indicated in the stage manager prompt book. manager prompt book. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 37 DBE/PAT 2020 NSC STAGE MANAGEMENT ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARK 0–7 8–13 14–19 20–22 23–25 DESCRIPTOR NOT MODERATELY ADEQUATE MERITORIOUS OUTSTANDING ACHIEVED ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT Scene changes The candidate fails The candidate The candidate The candidate provides The candidate provides to provide evidence provides evidence, provides evidence, in evidence, in the stage evidence, in the stage manager of indicated scene in the stage the stage manager manager prompt book, prompt book, of all scene changes in the manager prompt prompt book, of all of all scene changes changes indicated with notes of stage manager book, of some scene changes with with notes of actions actions that should be executed prompt book. scene changes with notes of actions that that should be with appropriate call indications, some actions that should be executed. executed and timing and crew/actors involved. should be taken. crew/actors involved. Calls The candidate fails The candidate The candidate The candidate provides The candidate provides to provide provides evidence, provides evidence, in evidence, in the stage evidence, in the stage manager evidence, in the in the stage the stage manager manager prompt book, prompt book, of all calls noted stage manager manager prompt prompt book, of all of all calls, time with time indications as well as prompt book, of book, of some calls calls with impulses. indications as well as impulses and, where needed, calls. with some impulses. impulses. anticipation markings with clear indications of time. Opening and The candidate fails The candidate The candidate The candidate The candidate provides, in the closing to indicate, in the provides, in the provides, in the stage provides, in the stage stage manager prompt book, procedures stage manager stage manager manager prompt manager prompt book, appropriate protocol for opening prompt book, the prompt book, only book, a protocol for appropriate protocol for and closing procedures with calls list of opening and brief opening and opening and closing opening and closing and timing as well as the closing procedures. closing procedures. procedures. procedures including impulses required. Relevant calls and the impulses crew/actors are listed with calls. required. Map of layout of The candidate fails The candidate The candidate The candidate provides The candidate provides a clearly props table to do a layout of provides a map of provides a map a marked map marked map indicating a props. evidence of a layout indicating the layout indicating the layout of thoughtful layout of all props of some props. of props on a prop all props on a prop used on a prop table. table. table. Differentiating order of props according to scenes and/or other appropriate criteria. Floor plan of The candidate fails The candidate The candidate The candidate submits The candidate submits a clearly stage setup to submit a stage submits a basic submits a functional a clearly labelled stage labelled stage map indicating map, or a form stage map stage map indicating map indicating all accurate placement of all props, thereof, indicating indicating props, all props, furniture props, furniture and furniture and décor for each some aspects of furniture and décor. and décor. décor with some scene with a high degree of props, furniture and degree of detail. detail. décor. Stage manager The candidate fails The candidate The candidate The candidate The candidate submitted a stage prompt script to submit a stage submitted a stagesubmitted a stage submitted a stage manager script with evidence of manager script with manager script with manager script with manager script with exceptional and clear detail of evidence of some evidence of evidence of technical evidence of technical technical aspects such as a floor technical aspects technical aspectsaspects such as a aspects such as a floor plan, position of set and set such as a floor such as a floor plan, floor plan, position of plan, position of set pieces, doors, windows, blocking, plan, position of set position of set and set and set pieces, and set pieces, doors, entrances and exits, sound cues, and set pieces, set pieces, doors, doors, windows, windows, blocking, light cues and special effects. doors, windows, windows, blocking, blocking, entrances entrances and exits, blocking, entrances entrances and exits, and exits, sound sound cues, light cues and exits, sound sound cues, lightcues, light cues and and special effects. cues, light cues cues and special special effects but not and special effects. effects always clear or correct. Interview The candidate fails The candidate The candidate arrives The candidate arrives The candidate arrives for the to arrive for the arrives for the for the interview, for the interview, interview, submits a complete interview or to interview, submits submits a complete submits a complete stage manager prompt script and submit a stage an incomplete stage stage manager stage manager prompt provides insightful, well- manager prompt manager prompt prompt script and script and provides motivated and thoughtful script or fails to script and provides provides satisfactory satisfactory and well- answers posed by the provide satisfactory brief and answers posed by the motivated answers examination panel. answers posed by unsatisfactory examination panel. posed by the the examination answers posed by examination panel. panel. the examination panel. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 38 DBE/PAT 2020 NSC ANNEXURE P: DEBRIEF OF THE PATs PERFORMANCE SECTIONS SAMPLE GENERIC QUESTION STEMS FOR CRITICAL THINKING Generic Question Stems Thinking Domain What do we already know about …..? Activation of prior knowledge How does … tie in with what we learned before? Activation of prior knowledge How does … affect …? Cause/effect analysis of relationship What do you think causes …? Why? Cause/effect analysis of relationship What is a new example of …? Application How could … be used to …? Application How does …apply to everyday life? Application – to the world How does the phrase … help you to understand the Application meaning of … How is … a metaphor for …? Application What are strengths and weaknesses of …? Analysis/Inference What is the difference between … and …? Analysis/Compare/Contrast Explain why … Explain how …? Analysis What is the nature of …? Analysis What are the implications of …? Analysis/Inference What does … mean? Analysis Why is … important? Analysis How are … and … similar? Analysis/Compare/Contrast Compare … and … with regard to …? Analysis/Compare/Contrast What is a counterargument for …? Analysis/Identification/Rebuttal to Argument What is a solution to the problem of …? Synthesis of Ideas What would happen if …? Prediction/Hypothesizing What is another way to look at …? Synthesis/Differing Point of View What is … analogous to? Synthesis/Identification and Creation of Analogies and Metaphors What is the best … and why? Evaluation/Provision of Evidence Do you agree or disagree with this statement …? Evaluation/Provision of Evidence What evidence is there to support your answer? Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 39 DBE/PAT 2020 NSC ANNEXURE Q: ASSESSMENT/MARKING/MODERATION: GOOD PRACTICE  Do the procedures used to ensure that marking is carried out accurately include training and monitoring of the examiners?  Are procedures in place and used to check accuracy of marking?  Are routine training or coordination procedures provided for markers and examiners?  Is this carried out to ensure standardisation?  Are single- or double-rating methods used, as opposed to 'shadow marking'?  Are checking methods used to detect possible human error?  Are procedures used and in place when differences between raters occur?  Are procedures used to establish pass marks and/or grades and cut scores?  Is the standard set and maintained?  Are assessment scales set and linked to CAPS?  Are cut scores set for pass/fail and other boundaries?  Are the different grade boundaries decided by samples and consensus?  Do moderators ensure that differences in performance are related primarily to skills under assessment rather than to irrelevant factors?  Are procedures used to detect test bias introduced by factors such as home language, country of origin (xenophobic bias), gender, religion, culture, age and race/ethnic origin?  Is standardisation of marks achieved? ANNEXURE R: MODERATION TOOL See the Moderation Tool on the following page. It is only an example that may be used by subject advisors to moderate teachers' and learners' PAT Lesson Planning and Assessment evidence. NOTE: The Department of Basic Education expects the PATs to be provincially moderated by the subject advisors and lead teachers in each province. Subject advisors in each of the nine provinces will, in consultation with the subject teachers, decide on a timetable for the moderation of the PATs. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 40 DBE/PAT 2020 NSC SCHOOL QUALITY ASSURANCE AND STANDARD MODERATION OF PATS. TEACHER PLANNING AND LEARNER SETTING EVIDENCE FOCUS PRACTICAL ASSESSMENT TASKS 1, 2 AND 3 SUBJECT DRAMATIC ARTS GRADE TEACHER NAME AND SURNAME YEAR 2020 DATE NOTES TO THE MODERATOR: There is a relationship between the CAPS Topics, the Lesson Plans and the Assessment Brief. Ensure there is a Lesson Plan for each CAPS Topic filed in the TEACHER PLANNING AND ADMINISTRATION FILE. The design of the Lesson Plan will be determined by the respective provinces. Moderate each Lesson Plan to ensure the teaching of content was based on the CAPS Topics. Moderate the Assessment Briefs for each of the three PATs, to ensure the content being taught in the above Lesson Plans is covered by the relevant Assessment Brief. Ensure the rubric criteria are integrated in the Lesson Plans. Please tick with a P or X in the blocks below MODERATOR'S COMMENTS ON THE CONTENT AND STANDARD TASK 1: PRACTICAL ASSESSMENT TASK WRITTEN SECTION. Assignment or Research or Essay (Circle the relevant one)  Lesson Plans  Are the Lesson Plans based on the CAPS Topics?  Is there a Lesson Plan for each of the CAPS Topics being assessed by this task?  Do the Lesson Plans contain detailed instructions and activities for teaching?  Assessment Brief  Are the Lesson Plans/Topics being assessed by this PAT indicated on the brief?  Does the Assessment Brief contain detailed instructions to the learner?  Rubric  Is the relevant rubric attached to the PAT Brief and the Lesson Plans for this brief? TASK 1: PRACTICAL ASSESSMENT TASK PERFORMANCE SECTION. Poem or Extract or Prose, etc. (Circle the relevant one) Lesson Plans  Are the Lesson Plans based on the CAPS Topics?  Is there a Lesson Plan for each of the CAPS Topics being assessed by this Task?  Do the Lesson Plans contain detailed instructions and activities for teaching?  Assessment Brief  Are the Lesson Plans / Topics being assessed by this PAT indicated on the brief?  Does the Assessment Brief contain detailed instructions to the learner?  Rubric  Is the relevant rubric attached to the PAT Brief and the Lesson Plans for this Brief? TASK 3: PRACTICAL ASSESSMENT TASK WRITTEN SECTION. Journal or Research or Essay (Circle the relevant one)  Lesson Plans  Are the Lesson Plans based on the CAPS Topics?  Is there a Lesson Plan for each of the CAPS Topics being assessed by this Task?  Do the Lesson Plans contain detailed instructions and activities for teaching?  Assessment Brief  Are the Lesson Plans /Topics being assessed by this PAT indicated on the brief?  Does the Assessment Brief contain detailed instructions to the learner?  Rubric  Is the relevant rubric attached to the PAT Brief and the Lesson Plans for this Brief? TASK 3: PRACTICAL ASSESSMENT TASK PERFORMANCE SECTION. Poem or Extract or Prose etc. (Circle the relevant one)  Lesson Plans  Are the Lesson Plans based on the CAPS Topics?  Is there a Lesson Plan for each of the CAPS Topics being assessed by this Task?  Do the Lesson Plans contain detailed instructions and activities for teaching?  Assessment Brief  Are the Lesson Plans /Topics being assessed by this PAT indicated on the brief?  Does the Assessment Brief contain detailed Instructions to the learner?  Rubric  Is the relevant rubric attached to the PAT Brief and the Lesson Plans for this Brief? Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 41 DBE/PAT 2020 NSC TASK 5: PRACTICAL ASSESSMENT TASK WRITTEN SECTION. Journal or Research or Essay. (Circle the relevant one)  Lesson Plans  Are the Lesson Plans based on the CAPS Topics?  Is there a Lesson Plan for each of the CAPS Topics being assessed by this Task?  Do the Lesson Plans contain detailed instructions and activities for teaching?  Assessment Brief  Are the Lesson Plans/Topics being assessed by this PAT indicated on the brief?  Does the Assessment Brief contain detailed instructions to the learner?  Rubric  Is the relevant Rubric attached to the PAT Brief and the Lesson Plans for this Brief? TASK 5: PRACTICAL ASSESSMENT TASK PERFORMANCE SECTION. Poem or Extract or Prose etc. (Circle the relevant one)  Lesson Plans  Are the Lesson Plans based on the CAPS Topics?  Is there a Lesson Plan for each of the CAPS Topics being assessed by this Task?  Do the Lesson Plans contain detailed instructions and activities for teaching?  Assessment Brief  Are the Lesson Plans/Topics being assessed by this PAT indicated on the brief?  Does the Assessment Brief contain detailed instructions to the learner?  Rubric  Is the relevant rubric attached to the PAT Brief and the Lesson Plans for this Brief? Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 42 DBE/PAT 2020 NSC MODERATION TOOL: DESIGN ELEMENTS Each provincial education department may design their own individual MODERATION TOOL to moderate the three PATs. However ensure that the following headings/aspects have headings/columns/space for moderation and comments on the design of Moderation Tool.  Name of the school being moderated  Status of the moderation  Focus  Subject  Grade  Name and Surname of the teacher being moderated  Name and Surname of the subject advisor responsible for the moderation  Year, date, day  Lesson Plans 1–8, underpinning the teaching towards the content being assessed in the Assessment Tasks. List as: o Lesson Plan 1 for Topic 1, o Lesson Plan 2 for Topic 2 etc. until Lesson Plan 8 for Topic 8  The following aspects should be in evidence for each Lesson Plan and should be rigorously moderated o Term o CAPS Broad Topics o CAPS Topic o Duration of the lesson o Learning and Teaching Support materials o CAPS concepts: Skills, knowledge and content o CAPS: Theory with cross referencing to the DBE Textbook chapter and number o CAPS Practical with cross referencing to the DBE Textbook chapter and number o Detailed instructions with cross referencing to the DBE Textbook chapter and number o Detailed activities with cross referencing to the DBE Textbook chapter and number o Detailed exercises' with cross referencing to the DBE Textbook chapter and number o Detail support materials with cross referencing to the DBE Textbook chapter and number o Detailed support aids, e.g. DVD/photos/illustrations/field trip, etc. o Assessment task number  Assessment Tasks 1–7, designed by the teacher to assess the CAPS Broad Topics and Topics  Assessment evidence as presented by each learner in both the required Written/Performance formats List as: o Assessment Task 1 o Assessment Task 2 etc. until Assessment Task 7  The following aspects should be in evidence for each Assessment Task and should be rigorously moderated: o Term o CAPS Broad Topics o CAPS Topic o Type of Assessment Task: Performance Assessment task: Written Section: Essay o Duration of the Assessment Task o Marks allocated to the task o Assessment Instruction/Brief. Detailed description must be given to the learner o List of CAPS Topics that will be assesses o List of CAPS Theory aspects that will be assessed o List of CAPS Practical aspects that will be assessed o Assessment Tool – Rubric Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 43 DBE/PAT 2020 NSC PAT EXAMPLES NOTE: These three Dramatic Items are only EXAMPLES of what type of Dramatic Item can be selected for the Performance Section of the PAT. NOTE: The selection contains three different DRAMATIC ITEMS: Monologue + Poem + Scene and three different GENRES: Elizabethan + Realism + Theatre of the Absurd. Through selecting a variety of items and genres the learner is able to demonstrate versatility and the full range of skills and knowledge required by the subject. MONOLOGUE GENRE: ELIZABETHAN HAMLET BY WILLIAM SHAKESPEARE HAMLET: To be, or not to be--that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles And by opposing end them. To die, to sleep-- No more--and by a sleep to say we end The heartache, and the thousand natural shocks That flesh is heir to. 'Tis a consummation Devoutly to be wished. To die, to sleep-- To sleep--perchance to dream: ay, there's the rub, For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause. There's the respect That makes calamity of so long life. For who would bear the whips and scorns of time, Th' oppressor's wrong, the proud man's contumely The pangs of despised love, the law's delay, The insolence of office, and the spurns That patient merit of th' unworthy takes, When he himself might his quietus make With a bare bodkin? Who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscovered country, from whose bourn No traveller returns, puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprise of great pitch and moment With this regard their currents turn awry And lose the name of action. -- Soft you now, The fair Ophelia! -- Nymph, in thy orisons Be all my sins remembered. [Read more at http://www.monologuearchive.com/s/shakespeare_001.html#uTU5ieU08vYeMUbJ.99] Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 44 DBE/PAT 2020 NSC POEM GENRE: REALISM I AM AN AFRICAN I am an African Not because I was born there But because my heart beats with Africa's I am an African Not because my skin is black But because my mind is engaged by Africa I am an African Not because I live on its soil But because my soul is at home in Africa When Africa weeps for her children My cheeks are stained with tears When Africa honours her elders My head is bowed in respect When Africa mourns for her victims My hands are joined in prayer When Africa celebrates her triumphs My feet are alive with dancing I am an African For her blue skies take my breath away And my hope for the future is bright I am an African For her people greet me as family And teach me the meaning of community I am an African For her wildness quenches my spirit And brings me closer to the source of life When the music of Africa beats in the wind My blood pulses to its rhythm And I become the essence of sound When the colours of Africa dazzle in the sun My senses drink in its rainbow And I become the palette of nature When the stories of Africa echo round the fire My feet walk in its pathways And I become the footprints of history I am an African Because she is the cradle of our birth And nurtures an ancient wisdom I am an African Because she lives in the world's shadow And bursts with a radiant luminosity I am an African Because she is the land of tomorrow And I recognise her gifts as sacred [By Wayne Visser: http://www.waynevisser.com/poetry/i-am-an-african] Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 45 DBE/PAT 2020 NSC SCENE GENRE: THEATRE OF THE ABSURD WAITING FOR GODOT BYSAMUEL BECKETT ESTRAGON: (to Pozzo). Everything seems black to him today. POZZO: Except the firmament. (He laughs, pleased with this witticism.) But I see what it is, you are not from these parts, you don't know what our twilights can do. Shall I tell you? (Silence. Estragon is fiddling with his boot again, Vladimir with his hat.) I can't refuse you. (Vaporizer.) A little attention, if you please. (Vladimir and Estragon continue their fiddling, Lucky is half asleep. Pozzo cracks his whip feebly.) What's the matter with this whip? (He gets up and cracks it more vigorously, finally with success. Lucky jumps. Vladimir's hat, Estragon's boot, Lucky's hat, fall to the ground. Pozzo throws down the whip.) Worn out, this whip. (He looks at Vladimir and Estragon.) What was I saying? VLADIMIR: Let's go. ESTRAGON: But take the weight off your feet, I implore you, you'll catch your death. POZZO: True. (He sits down. To Estragon.) What is your name? ESTRAGON: Adam. POZZO: (who hasn't listened). Ah yes! The night. (He raises his head.) But be a little more attentive, for pity's sake, otherwise we'll never get anywhere. (He looks at the sky.) Look! (All look at the sky except Lucky who is dozing off again. Pozzo jerks the rope.) Will you look at the sky, pig! (Lucky looks at the sky.) Good, that's enough. (They stop looking at the sky.) What is there so extraordinary about it? Qua sky. It is pale and luminous like any sky at this hour of the day. (Pause.) In these latitudes. (Pause.) When the weather is fine. (Lyrical.) An hour ago (he looks at his watch, prosaic) roughly (lyrical) after having poured forth even since (he hesitates, prosaic) say ten o'clock in the morning (lyrical) tirelessly torrents of red and white light it begins to lose its effulgence, to grow pale (gesture of the two hands lapsing by stages) pale, ever a little paler, a little paler until (dramatic pause, ample gesture of the two hands flung wide apart) pppfff! finished! it comes to rest. But– (hand raised in admonition)– but behind this veil of gentleness and peace, night is charging (vibrantly) and will burst upon us (snaps his fingers) pop! like that! (his inspiration leaves him) just when we least expect it. (Silence. Gloomily.) That's how it is on this bitch of an earth. Long silence. ESTRAGON: So long as one knows. VLADIMIR: One can bide one's time. ESTRAGON: One knows what to expect. VLADIMIR: No further need to worry. ESTRAGON: Simply wait. VLADIMIR: We're used to it. He picks up his hat, peers inside it, shakes it, puts it on. POZZO: How did you find me? (Vladimir and Estragon look at him blankly.) Good? Fair? Middling? Poor? Positively bad? Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 46 DBE/PAT 2020 NSC VLADIMIR: (first to understand). Oh very good, very very good. POZZO: (to Estragon). And you, Sir? ESTRAGON: Oh tray bong, tray tray tray bong. POZZO: (fervently). Bless you, gentlemen, bless you! (Pause.) I have such need of encouragement! (Pause.) I weakened a little towards the end, you didn't notice? VLADIMIR: Oh perhaps just a teeny weeny little bit. ESTRAGON: I thought it was intentional. POZZO: You see my memory is defective. Silence. ESTRAGON: In the meantime, nothing happens. POZZO: You find it tedious? ESTRAGON: Somewhat. POZZO: (to Vladimir). And you, Sir? VLADIMIR: I've been better entertained. Silence. Pozzo struggles inwardly. POZZO: Gentlemen, you have been . . . civil to me. ESTRAGON: Not at all! VLADIMIR: What an idea! POZZO: Yes yes, you have been correct. So that I ask myself is there anything I can do in my turn for these honest fellows who are having such a dull, dull time. ESTRAGON: Even ten francs would be a help. VLADIMIR: We are not beggars! POZZO: Is there anything I can do, that's what I ask myself, to cheer them up? I have given them bones, I have talked to them about this and that, I have explained the twilight, admittedly. But is it enough, that's what tortures me, is it enough? ESTRAGON: Even five. VLADIMIR: (to Estragon, indignantly). That's enough! ESTRAGON: I couldn't accept less. [Source: https://resources.saylor.org/wwwresources/archived/site/wp-content/uploads/2011/01/ Waiting-for-Godot.pdf] Copyright reserved