Dramatic Arts PAT GR 12 2021 Eng

Downloaded from hlayiso.com DRAMATIC ARTS GUIDELINES FOR PERFORMANCE ASSESSMENT TASKS GRADE 12 2021 These guidelines consist of 46 pages. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 2 DBE/PAT 2021 NSC TABLE OF CONTENTS 1. INTRODUCTION 3 2. TEACHER GUIDELINES 3 2.1 COVID-19: Implications and amendments to the PATs 3 2.2 General 3 2.3 Aims 4 2.4 Some ideas and approaches 4 2.5 How to administer the PATs 6 2.6 How to mark/assess the PATs 7 2.7 Moderation of PATs 7 3. LEARNER GUIDELINES 9 3.1 Instructions to learners 9 3.2 Practical assessment tasks 10 3.3 Example of three contrasting dramatic items combined in a theme-/audition 11 programme 3.4 Assessment/Moderation rubrics/tools 15 3.5 Absence or non-submission of PATs 15 3.6 Requirements for presentation of PATs 15 3.7 Timeframes 15 3.8 Declaration of Authenticity 15 4. LIST OF RESOURCES 17 4.1 Human resources 17 4.2 LTSM: Equipment and facilities 17 4.3 LTSM: Reference 18 4.4 Articulation with GET 18 4.5 Timetabling 18 5. CONCLUSION 18 6. STANDARDISATION/ASSESSMENT/DEBRIEFING/MODERATION TOOLS: 19 ANNEXURES A–S Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 3 DBE/PAT 2021 NSC 1. INTRODUCTION The 18 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; Technical Mathematics  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 2.1 COVID-19- IMPLICATIONS AND AMENDMENTS TO THE PATS If there is still threat of contracting COVID-19 learners must perform three individual dramatic items – one for each PAT. Assessment must be administered at school. The candidate, the teacher and a person who takes a video of each candidate's PAT performance (not necessarily a professional videographer), are the only three individuals that may be in the classroom when learners are assessed. Learners may perform without masks but must maintain a strict physical distance of 1,5 metres away from the videographer and the teacher. The room must be well ventilated at all times. Keep doors and windows open. 2.2 GENERAL The Annual Programme of Assessment for the subject Dramatic Arts stipulates THREE PATs should be completed for the school-based assessment (SBA) 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 a Research task. The learners are required to demonstrate cognitive and conceptual understanding of the fundamental 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 tasks may be done in any order in any of the three terms, and according to a school's specific planning. The Written Section serves to prepare learners theoretically for the Performance Sections of the PATs. SECTION 2: PERFORMANCE SECTION The focus of the Performance Section is to develop the practical skills and techniques prescribed in the CAPS Broad Topics and Topics incrementally and regularly. Learners should demonstrate applied competence in the form of Dramatic Items such as a poem, monologue, prose, scene/extract, physical theatre, film, design, directing, stage management. A variation in Dramatic Form, Style, Genre 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 2021 NSC 2.3 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's 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 as relevant to the various grades: o Paper 1: Written Examinations o Paper 2: Performance Examinations: Theme/Audition or Technical Programme 2.4 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, e.g. example, should occur over the three-year period and not only in Grade 12. (Ensure every period or moment of teaching is focused.)  The sharing 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 is discovered, explored, conceptualised, implemented, developed and applied.  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.) Be mindful that learners engage differently and achieve outcomes ranging from low cognitive level to high cognitive level (meta-cognitive) 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. It is important that the rubric is explained well and understood by the learners before embarking on the task.  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. The internet offers many resources but not all that is accessible is published or appropriate. 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 2021 NSC Learners' styles and creativity:  Learners should be confident and calculated risk takers, trying out new ideas and processes without fear of failure in a safely managed learning environment.  It is important that confidence is encouraged and nurtured to ensure learners feel comfortable about taking risks and learning from their mistakes.  As far as possible get to know your learners' ability and skills 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 necessarily 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 produce similar products.  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:  Conduct informal assessment continuously. 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 mediates discussion between learners about 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'. As the teacher, you may even have to shift your position. 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: 'Given the present circumstance in what alternative way can I look at the situation? Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 6 DBE/PAT 2021 NSC Reflection:  As a starting point; reflection is best measured/evaluated 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 session guided by the TEACHER as well as the learner. 2.5 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).  Allocate sufficient time for learners to complete the PATs (select contact time during and/or after school).  Ensure you TEACH every CAPS Topics concept/skill and knowledge component thoroughly. Facilitate a deep LEARNING process for each learner before the actual assessment of the PATs 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 the progress of the PATs during the rehearsal process.  Conduct informal continuous assessment.  Complete formal assessment and offer feedback to learners to help strengthen individual performance; use the rubrics provided in this document.  Complete the Excel mark sheets/spread sheets provided by the province.  Follow school policy and deadlines 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. There may be variation in presentation of the teacher file (subject to the province) but essentially the evidence must be available. It is important that the Annual Programme of Assessment running order is maintained in the filing and administration of the SBA evidence in the teacher file.  This file must be available for cluster, provincial and national moderation.  Record, on an ordinary cellphone, the Performance Sections of learners' PATs and download 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 for up to 6 months after the final results are released. Keep these written pieces and DVD-saved performances locked up in a safe place at school. This is the collective responsibility of the teacher, school management and principal. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 7 DBE/PAT 2021 NSC 2.6 HOW TO MARK/ASSESS THE PATs Teachers should ensure that 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.  Verifies whether the Guidelines for Standardisation of the Written Sections were followed.  Applies 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.  See the section on COVID-19 regulations, at the beginning of this guideline.  Adheres 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 (if the task elevates or minimises race, gender, religion, etc.) or in the marker (how the task is marked is influenced by the marker's personal views). 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. Be relevant in lesson plan design and teaching. A relevant task is when learners recognise the connection between classroom knowledge and situations outside the classroom. 2.7 MODERATION OF PATs 2.7.1 It is mandatory to film/record every learner's three PATs. The recordings must be stored by the teacher in a safe place and must be available for moderation by the provincial subject official. 2.7.2 The moderation of the PATs, 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 important moderation of teaching and learning. 2.7.3 It is important to be clear that the purpose of moderation is to focus on the whether the CAPS Topics (skills, knowledge and content) have been TAUGHT and LEARNT. 2.7.4 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 six cognitive levels and four thinking processes, as applied to the CAPS Topics, can be used. Officials must ensure moderation includes the following:  Lesson Plans: Are the lesson plan activities based on the content of the CAPS Topics?  Assessment Task Plans: Are the assessment task activities/briefs/instructions based on the CAPS Topics and the respective Lesson Plan?  Learner Assessment Evidence: Is the Learner's Assessment Evidence based on the CAPS + the respective lesson plan + the respective assessment task? Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 8 DBE/PAT 2021 NSC 2.7.5 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  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. 2.7.6 Quality Assurance Designated officials must ensure the following are available as evidence and compliant: Teacher training: all Dramatic Arts teachers must have official higher education training (FET) to offer the subject: minimum 3-year degree in Drama, PGCE as well as CAPS training. Teacher plans: the design of the PATs 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. 2.7.7 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 2.7.8 Moderation:  Should take place each time a PAT is completed.  Checks that assessment tasks and activities provide learners with fair and valid opportunities to meet the standards and expectations of the CAPS.  Agrees on strengths in learners' performances and plans to improve skills and knowledge.  Provides feedback on teacher judgments (setting and marking of PATs) to improve teaching.  Raises standards and expectations and levels of consistency.  Ensures learning is at the appropriate level and that learners develop skills for learning, life and work.  Should be conducted internally at school level, by a peer teacher/HOD/principal before the cluster/provincial moderation.  Should involve teachers in the moderation process to ensure professional development.  Should ensure interrelated reliability in the awarding of marks. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 9 DBE/PAT 2021 NSC 3. LEARNER GUIDELINES 3.1 INSTRUCTIONS TO LEARNERS Three PATs must 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 must 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 or replace 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 develop and integrate layers of understanding 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. 3.2 PRACTICAL ASSESSMENT TASKA ANNUAL PROGRAMME OF ASSESSMENT GRADES 10 AND 11 TERM 1 TERM 2 TERM 3 TERM 4 Task 1: Task 3: Task 6: Task 7: Practical Assessment Practical Assessment Task Practical Assessment Task End-of-year examinations Task  Written Section (25)  Written Section (25)  Performance Examination (150)  Written Section (25)  Performance Section (25)  Performance Section (25)  Performance Section (25) Task 4: Task 8: Mid-year examinations End-of-year examinations  Performance Examination  Written Examination (150) (150) Task 5: Mid-year examinations  Written Examination (150) ANNUAL PROGRAMME OF ASSESSMENT GRADE 12 TERM 1 TERM 2 TERM 3 TERM 4 Task 1: Task 3: Task 6: Practical Assessment Practical Assessment Task Practical Assessment Task Task  Written Section (25)  Written Section (25)  Written Section (25)  Performance Section (25)  Performance Section (25) DBE. Paper 1: NSC. Final  Performance Section (25) National External End-of-year Task 4: Task 7: examination Mid-year examination Trail examinations  Performance Examination  Performance Examination  Written Examination (150) (150) (150) Task 5: Task 8: Mid-year examination Trail examination  Written Examination (150)  Written Examination (150) DBE: Paper 2: NSC Final National External Performance end-of-year examination  Performance Examination (150) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 10 DBE/PAT 2021 NSC JOURNAL ESSAY RESEARCH Learners: Learners: Learners: Make sure you know exactly Use the theoretical support Collect additional outside what your teacher has material given to you by your source material to do briefed and instructed you to teacher (textbook, classroom independent research to present. You should use the notes) to write the essay. enrich your understanding of following processes when Make sure you follow the the research brief and you write a journal. guidelines and brief instructions. Make sure that 1. Collect instructions set by your you look at as many different 2. Analyse teacher. Use this PAT sources as possible. The 3. Interpret section to develop your internet is only one option 4. Reflect essay-writing skills. Ensure and is not always reliable. 5. Present information on your essay follows the basic At all times be ethical in your your own personal format of an essay: research. Research requires: practical skills' 1. Introduction 1. Use of a variety of development journey. 2. Body of knowledge sources 3. Conclusion 2. Comparing 3. Contrasting 4. Highlighting 5. Finding 6. Presenting PERFORMANCE SECTIONS Select and analyse one dramatic item for each PAT. Remember when you select your three items, they must be in sharp contrast with each other in terms of contrasting genres/ dramatic movements and must be performed in different dramatic styles:  Genres and Dramatic Movements: African drama forms/Commedia dell Arte/Greek Theatre/ South African Theatre/Realism in the Theatre/Elizabethan Theatre/Epic Theatre/Poor Theatre/Theatre of the Absurd/ Post Modern Theatre  Dramatic Styles: Poem/Monologue/Prose/Praise poem/Dramatised prose/Storytelling mime/Physical theatre/Movement/Mime 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 Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 11 DBE/PAT 2021 NSC 3.3 EXAMPLE OF THREE CONTRASTING DRAMATIC ITEMS COMBINED IN A THEME-/ AUDITION PROGRAMME EXAMPLE 1 THREE CONTRASTING PAT DRAMATIC ITEMS SELECTED FOR A THEME PROGRAMME TITLE: FATHERS Dramatic Item 1: Monologue Source: Nothing but the Truth by John Kani Genre: Realism. South African Sipho, the father of Thando, tells her about his brother Themba, how he took things from Sipho and how he even took away Sipho's wife (Thando's mother). The truth, the whole truth and nothing but the truth. That is what you've asked for. When I was a little boy, I made myself a wire double decker bus. I spent four days non-stop at it. When I was finished, I drove it around for about three minutes and then Themba wanted it for himself. He cried. My father shouted at me. 'What's the matter with you? Give it to him. Can't you see he is crying?' I gave it to him. He wrenched it out of my hands. My fingers bled a little, because of the force with which he grabbed it from me. The wire cut my fingers. He drove it away. I watched him go with a piece of my heart and love for my wire bus. Themba had a lot of toy cars my father bought for him to town. He did not need the wire bus. He took it because it was mine. It lasted for a day or two. The last time I saw it, it was smashed. Themba was driving it on the street, a bakery van surprised him, he ran off, leaving my bus on the road, the van smashed it flat. I was so angry. I wanted to kill him. My mother was angry with me. It was nothing. Just a bus made of wire. Funny. I have never forgotten that wire bus. I can still see it. Very clearly, in my mind. The truth, the whole truth and nothing but the truth. That is what you've asked for. I came home early from work one day. I wasn't feeling well. I had the flu. My head was pounding. When I got there, I opened the kitchen door with my own keys. The radio was playing too loud. The radio was right here on this sideboard. I turned the volume down. Then I heard your mother laugh. I went towards her, looked into the bedroom and there they were. On my bed. Both naked and making love. They both looked up as if they were feeling my presence. Your mother screamed. Themba dropped his face into the pillow in total shame and shock. I walked out. I did not say a word. I just kept walking and walking. When I came back they were both gone. I never saw them again. No more! It's payback time. The taking stops right here and now. I want everything back, Themba. I want my wire double decker bus now. I want it back. It was mine. I want my wife back. She was mine. She loved me, not you. Do you hear me. I want my daughter back. She is mine. She's my baby, not yours. She is the one thing you cannot take away from me. Not even now. Thando is mine. FIRST SHORT LINK Dramatic Item 2: Poem Title: 'Daddy' by Sylvia Plath Daddy, I have had to kill you. You died before I had time—— Marble-heavy, a bag full of God, Ghastly statue with one gray toe Big as a Frisco seal I have always been scared of you, With your Luftwaffe, your gobbledygoo. And your neat mustache And your Aryan eye, bright blue. Panzer-man, panzer-man, O You—— You stand at the blackboard, daddy, In the picture I have of you, A cleft in your chin instead of your foot But no less a devil for that, no not Any less the black man who Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 12 DBE/PAT 2021 NSC Bit my pretty red heart in two. I was ten when they buried you. At twenty I tried to die And get back, back, back to you. I thought even the bones would do. But they pulled me out of the sack, And they stuck me together with glue. And then I knew what to do. I made a model of you, A man in black with a Meinkampf look If I've killed one man, I've killed two—— The vampire who said he was you And drank my blood for a year, Seven years, if you want to know. Daddy, you can lie back now. There's a stake in your fat black heart And the villagers never liked you. They are dancing and stamping on you. They always knew it was you. Daddy, daddy, you bastard, I'm through SECOND SHORT LINK Dramatic Item 3: Blank Verse Title: King Lear by Shakespeare Genre: Elizabethan Goneril hates her father and plots to get him and his knights and servants out of her castle. (Goneril speaking to herself) My father struck my gentleman for chiding his fool! By day and night he wrongs me! Every hour He flashes into one gross crime or other That sets us all at odds. I'll not endure it. His knights grow riotous, and himself upbraids us On every trifle. When he returns from hunting, I will not speak with him. (Kind Lear enters, Goneril changes her mind and addresses him) Not only, sir, this your all licenced fool, But other of your insolent retinue Do hourly carp and quarrel, breaking forth In rank and not-to-be endured riots. Sir I had thought, by making this well-known unto you, To have found a safe redress, but now grow fearful, By what yourself, too, late have spoken and done, That you protect this course, and put it on By your allowance; Come, sir, I would you would use of that good wisdom Whereof I know you are fraught, and put away These dispositions that of late transform you from what you rightly are I do beseech you to understand my purposes aright. As you are old and reverend, you should be wise. Here do you keep a hundred knights and squires; Men so disorder'd. so debosh'd, and bold That this our court, infected with their manners Shows like a riotous inn The shame itself doth speak For instant remedy Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 13 DBE/PAT 2021 NSC EXAMPLE 2 THREE CONTRASTING PAT DRAMATIC ITEMS SELECTED FOR A THEME PROGRAMME TITLE: STOP ABUSING ANIMALS Dramatic Item 1: Prose Title: Elephant of Africa Genre: Realism and physical theatre (physically interprets the extract via body language, use of facial expression, use of movement dynamics (force/energy/weight/direction, etc.) – South African Author: Nicholas Ellenbogen * The spirit Guardian tells the audience about the elephant skull in a grove of sneeze wood in Mozambique. The opening setting is a grove of trees in the bush, it has the old bones of an elephant scattered around, the tusks still lie loose in the skull. He takes a crouched position behind the elephant's skull, with tusks. Guardian: While we stand as guardians over this elephant bull's last physical remains, in five, maybe ten years, his tusks will have turned to dust. Only his skull will remain. Who then will tell the world of his power, of his victories, of his will to survive. Who will talk of his great journey across the landmines of Africa, to come to this place, to die here, in these sneeze woods. You (to the audience) must know his story, go into the world and sing his praises. Then people might care about the dying herds of Africa. As a pup, the elephant loved to play. His cousins feared him. Already, where your peers boasted tusks like little white thorns piercing through their gums, your tusks were a full two feet and thick. So much wisdom on such young legs. The District Commissioner was the first to strike the blow against the elephant. He came out from England. DC to the Guardian: 'He was a cunning bastard! Do you remember how pink he burnt in the African sun?' Guardian to the DC: 'Why did you come to Africa? DC: It was the land of opportunity. India was too far and already under colonial control. There were a couple of problems. We had to sort out a couple of problems. The lions and elephant were a big problem. I literally had to shoot hundreds myself. But there were too many to kill them all, and I found that when we killed the old cows, they stopped moving around so much, and got lost. They stopped migrating. I was the first to see the courage of the young bull.' Guardian: 'Yes, you saw his courage as he stood watching while you massacred the herds.' Guardian to audience: Over the years the DC hunted him with his guns. He evaded the DC for many years. But the many years made him old. So old he could barely lift his legs. DC: 'I caught a glimpse of the old bugger coming out of the river, he could hardly drag his great tusks clear of the ground. As usual he scented me, vanished like a ghost. But I've got him now, he's too weak to climb out of here. One shot into the temple and it's over. Should come as a relief. My God I smelt him even before I saw him. When he lifted me, it was really very gently. He tossed me like a rag doll. Landed on my face but I couldn't get up, I couldn't feel my legs. I'd lost my gun and as he towered above, I knew the victory was his. His trunk worked over my face, then on over my chest. Why didn't he finish it? The tips of his great tusks brushed the earth inches from my stomach. Then his trunk snaked behind my back touching my spine. He blew hot air and I knew my back was broken. He turned and walked away. He walked to this ancient sneeze wood to die. He goes no further.' Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 14 DBE/PAT 2021 NSC Dramatic Item 2: Poem Title: 'Rhino Warrior' Genre: Realism South African Author: Anne Moth Warrior I wear black for the rhinos killed and maimed For what men do they should be ashamed They take the lives of creatures wild and free For God's sake will you listen, leave them be I wear black for the orphans left behind Because of cruelty caused by some of mankind The babies left behind, they have no mums Evil men shot and killed them with their guns I wear black for the stupidity of man's greed The ones who plant the ever-growing evil seed Saying horn so good, it'll make you strong If only people listened because it is so wrong When all the rhinos are allowed to thrive and live For that wonderful day my very soul I'd give Until that day the clothes on my back Will have no colour, I'll be the wo/man dressed in black Dramatic Item 3: Monologue Title: Abattoir Genre: Agit prop/Realism Author: Unknown Listen to me. If I had been a pig in the wild I would have liked nothing better than to stick my snout in the dirt and root. I would have taken mud baths to cool myself. And oh, how I would have roamed, for miles. Sniffing, sniffing and sniffing for food. Exploring everywhere. But I spent my life confined on a factory farm. I wasn't even viewed as an animal by the people there. No, I was a meat-producing, piglet-making machine without any feelings. I was weaned from my mother at two weeks old and became a breeder like her. This meant that I was put in a cage so small that it was impossible for me to move around. I just wanted out. I wanted to be free. The boredom was terrible. I'd bang my head on the cage door, but that did no good. I'd finally just give up. After giving birth, it was even worse. I was placed in an even smaller crate while my piglets nursed. Over and over again, either pregnant or nursing, I was always caged. Other pigs are put into concrete cells called fattening pens, each holding about a dozen pigs. Of course, the pigs act out in their boredom and frustration and try to bite one another. The factory farmers answer to this is to cut off their tails, cut off the ends of some of their teeth and punch bits out of their ears. Of course, we all had to die at some point. When I had stopped giving them enough piglets, my time had come for slaughter. A quick and painless death would have been a blessing to me. But that was not to be. I was packed into a hot truck with so many other pigs, crammed together, shocked with an electric prod. We were frightened, angry, biting at each other, trying to get out, looking for escape where there was none. And then the long ride, the heat unbearable. Many of us died, right there in the truck. What a hellish ride! How can I explain to you what I saw and heard and smelled at the slaughter house? Do you have any idea of the horrors there? I watched my brothers and sisters and my children being killed. I saw them struggle and heard their cries for help and I saw the workers brutalize them in their impatience. I saw their blood splashed all over the place! When it was my turn, a worker put a captive bolt pistol to my head to stun me. But I struggled and the bolt missed its mark. I was still conscious when my throat was slit. My last sensations were feeling the blade of that knife and hearing the coarse laugh of the man who used it on me. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 15 DBE/PAT 2021 NSC 3.4 ASSESSMENT/MODERATION RUBRICS/TOOLS WRITTEN SECTION: An assessment tool/rubric is provided for the journal, 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, samples of good practice with a clear indication of 'where, why, how and what' marks were awarded could be provided. 3.5 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. 3.6 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. 3.7 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. 3.8 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 16 DBE/PAT 2021 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 17 DBE/PAT 2021 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. 4.1 HUMAN RESOURCES A teacher with an appropriate FET 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 at FET level:  The creative arts teacher  An actor/actress  A drama enthusiast  The English language teacher  The dance teacher  A GET qualification 4.2 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-volume classroom, or an open space (as in a hall)  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 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 18 DBE/PAT 2021 NSC 4.3 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 4.4 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. 4.5 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 19 DBE/PAT 2021 NSC 6. STANDARDISATION/ASSESSMENT/DEBRIEFING/MODERATION TOOLS WRITTEN TASKS: GUIDELINES FOR NATIONAL STANDARDISATION ANNEXURE A: JOURNAL ANNEXURE B: ESSAY ANNEXURE C: RESEARCH WRITTEN TASKS: ASSESSMENT TOOLS: RUBRICS ANNEXURE D: JOURNAL ANNEXURE E: ESSAY ANNEXURE F: RESEARCH THEME/AUDITION PROGRAMME: ASSESSMENT TOOLS: RUBRICS ANNEXURE G: EXTRACT ANNEXURE H: SCENE ANNEXURE I: MONOLOGUE ANNEXURE J: MOVEMENT ANNEXURE K: POETRY ANNEXURE L: PROSE TECHNICAL THEATRE PROGRAMME: ASSESSMENT TOOLS: RUBRICS ANNEXURE M: FILM MAKING ANNEXURE N: DESIGN ANNEXURE O: DIRECTING/THEATRE MAKING ANNEXURE P: STAGE MANAGEMENT DEBRIEF OF THE PATs PERFORMANCE SECTIONS ANNEXURE Q: QUESTION STEMS ASSESSMENT/MARKING AND MODERATION: GOOD PRACTICE ANNEXURE R: PRINCIPLES MODERATION TOOL ANNEXURE S: TEMPLATE FOR INTERNAL SCHOOL AND PROVINCIAL MODERATION Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 20 DBE/PAT 2021 NSC WRITTEN TASKS: GUIDELINES FOR NATIONAL STANDARDISATION ANNEXURE A STANDARDISATION JOURNAL (PAT and Performance Examination) 1 INSTRUCTIONS or briefs from the teacher for the journal entries must be:  Given to learners before the journal entry (PAT 1 written component). The Performance Examination Journal is a continuation of multiple entries of all the practical components as the candidate prepares and performs in activities from all topics in CAPS.  Based on the rubric criteria on what the learners should include in their journals  Based on the CAPS Topics Content: skills, knowledge and values, the PATs: Written and Performance Sections as well as the Performance Examinations  Sensitive to gender, inclusivity, culture, class, race and religion 2 KNOWLEDGE, skills and attitudes:  The knowledge (theory) and skills (practical application) components of the subject Dramatic Arts must be understood and applied in an integrated manner 3 FORMAT of the journal:  PAT 1 entry: This is a once-off task that will be marked at the end of term 1. The mark will be recorded as PAT 1: Journal.  Performance Examination entries: The journal is a book of continuous entries made during the whole year in preparation for the Performance Examinations. 4 CONTENT of the journal:  NOTE: There are two different journal formats: o The first journal is for the written component of the PAT o The second journal is a continuous range of entries commenting on the preparation towards the Performance Examination  This STANDARDISATION section focuses on the first one: the once-off crafted journal entry for the PAT: Written Section.  The journal is used to record the classroom teaching, to reflect in a meaningful way on the learning and to provide proof of the continuous improvement and development of the learner.  There are generally three phases a learner engages with when he/she makes journal entries: o Phase 1: the learner records/pastes in the Dramatic Item they are working on and comments on the skills, knowledge and values found in this item, e.g. poem, essay. o Phase 2: the learner reflects on their achievement of skills, knowledge and values. o Phase 3: the learner will commit to what needs to improve for future performance items and writing.  Integration of practical experiences and theoretical material should be evident in the journal.  The purpose of the journal is to reflect on the learning already achieved and yet to be achieved.  The entries must demonstrate a gradual and incremental creative process being explored as well as achievement of skills and knowledge.  Dramatic Arts terminology should be used in the writing of the assignment.  Individual reflection and development of theoretical understanding through practical work, even in the case of group activity, should be evident in the journal.  Specialised language, in the case of African Drama Forms and Traditions, should be adhered to.  The journal is an academic document and must focus on critical, creative and problem-solving thinking skills rather than scrap-booking techniques. A neat presentation is required.  The journal must also serve as a vehicle to improve language skills as part of its self-development purpose.  Different types of writing must be included: o Factual (knowledge e.g. Theatre History) o Descriptive (process knowledge through description e.g. costume, sets) o Analytical (analysis, e.g. theme, character.) o Reflective (evaluation, e.g. own and peer critique) o Procedural (creative process, e.g. staging process) o Annotated drawings, diagrams, etc. 5 MARKS AWARDED  See the Annual Programme of Assessment.  Performance Assessment Task mark or the Performance Examination mark (the latter in the case of a learner being unable to perform).  Assessment rubric is given to learners as part of the brief or instruction.  Marks are allocated according to the achievement of criteria reflected in the assessment rubric.  PAT 1: 25 marks awarded to the Written Section OR  Performance Examination: 150  A candidate will be awarded a mark out of 150 for continuous reflexive thinking and writing of multiple entries about the preparation towards the Performance Examination, from term 1 to 4 (internal Grades 10 and 11) at the end of term 4 and from term 1 to 3 (external Grade 12) at the end of term 3 Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 21 DBE/PAT 2021 NSC ANNEXURE B STANDARDISATION ESSAY TEACHERS:  Use these guidelines to ensure national standardisation of the essay.  Attach these guidelines to the Assessment Task 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 22 DBE/PAT 2021 NSC ANNEXURE C STANDARDISATION RESEARCH TEACHERS:  Use these guidelines to ensure national standardisation of the research.  Attach these guidelines to the Assessment Task 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 23 DBE/PAT 2021 NSC ANNEXURE D JOURNAL ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARKS 0–9 10–19 20–29 30–39 40–50 DESCRIP- NOT ACHIEVED MODERATELY ADEQUATE SUBSTANTIAL MERITORIOUS 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 a 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 Underdeveloped that are not well implications of thought of the future in perceptions and with 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 development, Application continuous personal continuous personal continuous personal continuous personal a highly insightful development, is development, is development, is development, is understanding of the limited and adequate with some comprehensive with comprehensive with relationship between simplistic. insight. insight. a high level of these components. insight. 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Downloaded from hlayiso.com Dramatic Arts 24 DBE/PAT 2021 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 80–100 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 70–79 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 60–69 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 50–59 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 40–49 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 30–39 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 0–29 any supporting discussion. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 25 DBE/PAT 2021 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 80–100 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 70–79 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 60–69 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 50–50 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 40–49 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 30–39 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 0–29 lacking any supporting discussion. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 26 DBE/PAT 2021 NSC THEME/AUDITION PROGRAMME: ASSESSMENT TOOLS: RUBRICS ANNEXURE G EXTRACT (PROSE) ASSESSMENT TOOL RUBRIC MARKS 66–100 30–65 0–29 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 27 DBE/PAT 2021 NSC ANNEXURE H EXTRACT (SCENE) ASSESSMENT TOOL RUBRIC MARKS 66–100 30–65 0–29 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 sustained throughout the character's inner life is not throughout 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 attention; reactions to the other attention; there is little reaction to 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 status in relation to the other other characters in the scene; the the other characters in the scene characters in the scene; the relationship between the and 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 and change appropriately. the scene. appropriately. 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 scene. throughout the scene. the audience, believability within style, timing, appropriate physical action etc. Impact of The scene is memorable, The scene has some memorable, The scene has few or no scene effective and engaging. effective, engaging moments, but memorable, effective, engaging these are inconsistent. moments. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 28 DBE/PAT 2021 NSC ANNEXURE I MONOLOGUE ASSESSMENT TOOL RUBRIC MARKS 66–100 30–65 0–29 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 movements at times. monologue, 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 29 DBE/PAT 2021 NSC ANNEXURE I (continued) MONOLOGUE ASSESSMENT TOOL RUBRIC MARKS 66–100 30–65 0–29 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 30 DBE/PAT 2021 NSC ANNEXURE J MOVEMENT ASSESSMENT TOOL RUBRIC MARKS 66–100 30–65 0–29 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 31 DBE/PAT 2021 NSC ANNEXURE K POETRY ASSESSMENT TOOL RUBRIC MARKS 66–100 30–65 0–29 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 32 DBE/PAT 2021 NSC ANNEXURE L PROSE ASSESSMENT TOOL RUBRIC MARKS 66–100 30–65 0–29 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 33 DBE/PAT 2021 NSC TECHNICAL THEATRE PROGRAMME: ASSESSMENT TOOLS: RUBRICS FILM MAKING PRODUCTION PHASES CHECKLIST AND TASKS PAT 1 PAT 2 PAT 2 PRE PRODUCTION PRODUCTION POST PRODUCTION [Source: https://rb.gy/jk6zii] [Source: https://rb.gy/nkstta] [Source: https://rb.gy/lscuw8] The pre-production phase is the planning The production phase ends once The post production process process of every task before production begins the footage is recorded. This begins after all the footage has  Select a script (dramatic item) process will capture all the been captured.  Analyse the script scenes and information from the  Review the footage pre-production process  Create a paper edit  Break down the script into scenes  Production meeting (script  Familiarise yourself with the  Brainstorm ideas analysis, scene breakdown, operations of the editing  Create the final film script storyboard, shots,  Create and decide on the concept and programme schedules)  Import picture and sound to your vision as a filmmaker  Finalise camera angles, editing software on the  Create the story board movements and shots  Cast the actors computer  Create a shot list  Keep an editing log of edits/  Decide on and create the designs for the  Create shooting schedule film (props/costume/set/lighting/etc.) cuts/etc.  Prepare the location  Edit 1st rough draft footage  Select props  Set up the set  Select costume  Edit sound/music/dialogue  Set up the shots  Export for viewing  Select locations  Rehearse the scene  Edit 2nd draft  Finalise the crew  Shoot the scenes  Finalise lighting ideas  Complete title sequence  Log footage  Complete credit list  Finalise camera angles, movements and  Record and reflect on all shots  Edit final draft above tasks in your film-  Lock picture  Create a shooting schedule making journal  Obtain editing software app or  Output project to final format programme  Make copies  Understand the working of cell phone to  Record and reflect on all record footage above tasks in your film-  Record and reflect on all above tasks in making journal your film-making journal 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. WATCH AND LEARN 1. Yesterdays: A visual Poem: https://www.youtube.com/watch?v=-hJmH6vRy_s 2. I am afraid: https://rb.gy/2uhjsb 3. Snow brawl: https://rb.gy/mptd6m 4. Today I rise: https://www.filmsforaction.org/watch/today-i-rise/ 5. The red balloon: https://www.studiobinder.com/blog/best-short-films/#the-red-balloon 6. When you say you're a swimmer: https://rb.gy/nojw6w 7. Embarrassed: https://www.shortoftheweek.com/2016/07/18/embarrassed/ 8. Powerful Thoughts: https://www.youtube.com/watch?v=wMSe0Hdn2cg CONVENTIONS AND TECHNIQUES Theory: 9. Film terminology (close-up, medium shot, long shot, pan, dissolve, etc.) 10. Film conventions (flashback, fast forward, voice over, split screen, etc.) 11. Understand different film techniques. Study this PowerPoint presentation: https://rb.gy/1mz4mb 12. Understand film conventions and how these affect performances. Study this PowerPoint presentation: https://rb.gy/flu1i1 13. Use film techniques and conventions effectively: https://www.youtube.com/watch?v=NvybQ5RpMkc NOTE: Only teachers who have FORMAL experience, competency or qualifications may teach this option. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 34 DBE/PAT 2021 NSC ANNEXURE M FILM-MAKING ASSESSMENT TOOL RUBRIC Set, Costume, Music, Sound Effects, Set Pieces, Special Effects, Properties, Lighting, Make-up LEVEL 1 2 3 4 5 MARKS 1–34% 35–49% 50–69% 70–79% 80–100% CRITERION The candidate is The candidate is The candidate is The candidate is The candidate is able, with no or very able, with limited and able, with adequate able, with able, with limited and elementary and suitable meritorious exceptional and elementary understanding, elementary elementary excellent insight, understanding, technique and skill, understanding, understanding, understanding, technique and skill, to: technique and skill, technique and skill, technique and skill, to: to: to: to: Production Adapt a film script, from a Adapt a film script, from a Adapt a film script, from a Adapt a film script, from a Adapt a film script, from a File: Script published work (play, published work (play, poem published work (play, poem published work (play, poem published work (play, poem and script poem or prose) to create a or prose) to create a or prose) to create a or prose) to create a or prose) to create a cinematic/audio-visual cinematic/audio-visual cinematic/audio-visual cinematic/audio-visual cinematic/audio-visual interpretation product which works for product which works for product which works for product which works for product which works for adaptation screen. screen. screen. screen. screen. for film Convey the essence of Convey the essence of the Convey the essence of the Convey the essence of the Convey the essence of the the source work. source work. source work. source work. source work. Ensure an appropriate Ensure an appropriate Ensure an appropriate Ensure an appropriate Ensure an appropriate narrative arc with a sense narrative arc with a sense narrative arc with a sense narrative arc with a sense narrative arc with a sense of beginning middle and of beginning middle and of beginning middle and of beginning middle and of beginning middle and end – even if it is cyclical or end – even if it is cyclical or end – even if it is cyclical or end – even if it is cyclical or end – even if it is cyclical or repetitive. repetitive. repetitive. repetitive. repetitive. Production Demonstrate extensive Demonstrate extensive Demonstrate extensive Demonstrate extensive Demonstrate extensive File: Pre- pre-production work in a pre-production work in a pre-production work in a pre-production work in a pre-production work in a production production file and journal production file and journal production file and journal production file and journal production file and journal to convey the thinking, to convey the thinking, to convey the thinking, to convey the thinking, to convey the thinking, and planning and process planning and process planning and process planning and process planning and process production behind the film. behind the film. behind the film. behind the film. behind the film. planning and Include documents such Include documents such as Include documents such as Include documents such as Include documents such as documents: as treatments, notes on treatments, notes on treatments, notes on treatments, notes on treatments, notes on shot-list, call- production design, a script production design, a script production design, a script production design, a script production design, a script sheet, outline, storyboards, a outline, storyboards, a shot outline, storyboards, a shot outline, storyboards, a shot outline, storyboards, a shot contingen- shot list, a call sheet list, a call sheet (containing list, a call sheet (containing list, a call sheet (containing list, a call sheet (containing (containing all the key all the key details of the all the key details of the all the key details of the all the key details of the cies, etc. details of the shoot). shoot). shoot). shoot). shoot). Include a contingency Include a contingency Include a contingency Include a contingency Include a contingency planning process. planning process. planning process. planning process. planning process. Cinema- Plan appropriate shots for Plan appropriate shots for Plan appropriate shots for Plan appropriate shots for Plan appropriate shots for tography the script and convey these the script and convey these the script and convey these the script and convey these the script and convey these through their storyboards. through their storyboards. through their storyboards. through their storyboards. through their storyboards. Compose and shoot well- Compose and shoot well- Compose and shoot well- Compose and shoot well- Compose and shoot well- motivated, well-lit, varied motivated, well-lit, varied motivated, well-lit, varied motivated, well-lit, varied motivated, well-lit, varied visuals which use shot visuals which use shot visuals which use shot visuals which use shot visuals which use shot scale, movement and scale, movement and scale, movement and scale, movement and scale, movement and camera angles to camera angles to camera angles to camera angles to camera angles to complement and enhance complement and enhance complement and enhance complement and enhance complement and enhance content and mood. content and mood. content and mood. content and mood. content and mood. Mise-en- Use elements such as set, Use elements such as set, Use elements such as set, Use elements such as set, Use elements such as set, Scéne costumes, props, make-up costumes, props, make-up costumes, props, make-up costumes, props, make-up costumes, props, make-up and lighting to enhance and and lighting to enhance and and lighting to enhance and and lighting to enhance and and lighting to enhance and support the overall support the overall support the overall support the overall support the overall production design. production design. production design. production design. production design. Audio Produce a soundtrack with Produce a soundtrack with Produce a soundtrack with Produce a soundtrack with Produce a soundtrack with elements/ clearly audible ambient clearly audible ambient clearly audible ambient clearly audible ambient clearly audible ambient Effects sound, dialogue and sound sound, dialogue and sound sound, dialogue and sound sound, dialogue and sound sound, dialogue and sound effects (if relevant). effects (if relevant). effects (if relevant). effects (if relevant). effects (if relevant). Use, copyright-free music Use, copyright-free music Use, copyright-free music Use, copyright-free music Use, copyright-free music to create mood and support to create mood and support to create mood and support to create mood and support to create mood and support visual and narrative visual and narrative visual and narrative visual and narrative visual and narrative elements. elements. elements. elements. elements. Editing Edit the film in a way that Edit the film in a way that Edit the film in a way that Edit the film in a way that Edit the film in a way that ensures narrative and ensures narrative and ensures narrative and ensures narrative and ensures narrative and visual flow, demonstrates visual flow, demonstrates visual flow, demonstrates visual flow, demonstrates visual flow, demonstrates an understanding of the an understanding of the an understanding of the an understanding of the an understanding of the 'grammar' of editing, is free 'grammar' of editing, is free 'grammar' of editing, is free 'grammar' of editing, is free 'grammar' of editing, is free of unintentional errors and of unintentional errors and of unintentional errors and of unintentional errors and of unintentional errors and enhances the overall style enhances the overall style enhances the overall style enhances the overall style enhances the overall style of the film. of the film. of the film. of the film. of the film. 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Downloaded from hlayiso.com Dramatic Arts 35 DBE/PAT 2021 NSC ANNEXURE M (continued) Production Demonstrate extensive Demonstrate extensive Demonstrate extensive Demonstrate extensive Demonstrate extensive File: Post- work in a production file work in a production file work in a production file work in a production file work in a production file production and journal to convey the and journal to convey the and journal to convey the and journal to convey the and journal to convey the post-production process. post-production process. post-production process. post-production process. post-production process. documents Include log sheets, other Include log sheets, other Include log sheets, other Include log sheets, other Include log sheets, other and reflection editing notes, notes on the editing notes, notes on the editing notes, notes on the editing notes, notes on the editing notes, notes on the process and difficulties process and difficulties process and difficulties process and difficulties process and difficulties encountered. encountered. encountered. encountered. encountered. Performance Appropriately cast the roles. Appropriately cast the roles. Appropriately cast the roles. Appropriately cast the roles. Appropriately cast the roles. elements Elicit engaging and Elicit engaging and Elicit engaging and Elicit engaging and Elicit engaging and (direction, convincing performances convincing performances convincing performances convincing performances convincing performances appropriate in style to the appropriate in style to the appropriate in style to the appropriate in style to the appropriate in style to the choices, etc.) short film. short film. short film. short film. short film. Overall Create an original, Create an original, Create an original, Create an original, Create an original, impact of the engaging and satisfying engaging and satisfying engaging and satisfying engaging and satisfying engaging and satisfying film short film which short film which short film which short film which short film which communicates clearly. communicates clearly. communicates clearly. communicates clearly. communicates clearly. Ensure that all the elements Ensure that all the elements Ensure that all the elements Ensure that all the elements Ensure that all the elements (performance, visual, audio, (performance, visual, audio, (performance, visual, audio, (performance, visual, audio, (performance, visual, audio, editing) work cohesively editing) work cohesively editing) work cohesively editing) work cohesively editing) work cohesively together. together. together. together. together. Interview with Articulate their intentions Articulate their intentions Articulate their intentions Articulate their intentions Articulate their intentions the candidate regarding the short film and regarding the short film and regarding the short film and regarding the short film and regarding the short film and discuss the influences, discuss the influences, discuss the influences, discuss the influences, discuss the influences, interests and ideas that interests and ideas that interests and ideas that interests and ideas that interests and ideas that motivated the work. motivated the work. motivated the work. motivated the work. motivated the work. Explain the choices made Explain the choices made Explain the choices made Explain the choices made Explain the choices made at each stage of the at each stage of the at each stage of the at each stage of the at each stage of the production and justify any production and justify any production and justify any production and justify any production and justify any major changes made. major changes made. major changes made. major changes made. major changes made. Disclose any assistance Disclose any assistance Disclose any assistance Disclose any assistance Disclose any assistance received and motivate why received and motivate why received and motivate why received and motivate why received and motivate why this was justified. this was justified. this was justified. this was justified. this was justified. Convince examiners that Convince examiners that Convince examiners that Convince examiners that Convince examiners that the short film is their own the short film is their own the short film is their own the short film is their own the short film is their own creation. creation. creation. creation. creation. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 36 DBE/PAT 2021 NSC DESIGN PAT 1, 2 and 3 and TASKS CHECKLIST PAT 1 PAT 2 PAT 2 Design 1 Design 2 Design 3 and integration [Source: http://antontremblay.com/contact.html] [Source: https://rb.gy/b0g8o4] [Source: https://sketchfab.com/rado20/ collections/set-design] The FIRST PAT requires the candidate to The SECOND PAT requires the The THIRD PAT requires the complete the whole process from candidate to complete the whole candidate to complete the whole selecting a design element to producing process from selecting a design process from selecting a design a first product, e.g. set: element to producing a second element to producing a third and  Select a script (dramatic item) product, e.g. costume. The two final product, e.g. lighting: (note  Analyse the script products must form an integrated the lighting colours/effects can  Research period, genre, given whole. be applied by colouring the set circumstances, characters, stage  Apply the research of the script/ model and furniture with the space and social, political, religious, dramatic item, the period, genre, projecting using colour gels. The economic, artistic, historical and given circumstances, characters, three products must form an theatrical contexts stage space and social, political, integrated whole.  Select and motivate the most religious, economic, artistic,  Apply the research of the script/ appropriate stage space historical and theatrical contexts dramatic item, the period,  Create a breakdown and indicate for PAT 1 to PAT 2's design genre, given circumstances, where and how which design component characters, stage space and component will be actualised  Use the PAT 1 script/item social, political, religious,  Identify the 3-design component and breakdown and identify the style, economic, artistic, historical and select the first one of three, e.g. type, period, etc. of the costumes theatrical contexts for PAT 1 to o Set  Maintain or select another design PAT 3's design component o Costumes team. Enrol the team.  Use the PAT 1 script/item o Lighting  Brainstorm ideas breakdown and identify the  Select and enrol the design support  Apply design elements: line, type, effects, etc. of the lighting team colour, texture, form, movement,  Maintain or select another  Brainstorm ideas and shape to the: design team. Enrol the team  Apply design elements: line, colour, o Drawings of the costumes  Brainstorm ideas texture, form, space, movement, and o Construct up to two  Apply design elements: line, shape to the: costumes with recycled colour, texture, form, space, o Ground plan materials or available clothes movement, and shape to the: o Scale drawing of the set  Record and reflect on all above o Set model and the o Miniature set tasks in your design journal/note costumes  Record and reflect on all above tasks in book  Record and reflect on all above your design journal/note book tasks in your design journal/note book General Technical Theatre: https://www.youtube.com/watch?v=NYrG6W7OzrY PAT 1 Set: Design: https://www.youtube.com/watch?v=Jo8ccp6KZXI Set: Design: https://www.youtube.com/watch?v=3DHcON8JKhY Set: Design: https://www.wikihow.com/Design-a-Stage-Set Set: Drawing of a sketch: https://www.youtube.com/watch?v=aseFgW0AMZo Set: Drawing of a sketch: https://www.youtube.com/watch?v=XYXBvdyPKRs Build a stage set model: https://rb.gy/nlcy77 PAT 2 Costume design https://study.com/academy/lesson/costume-design-definition-history-process.html Costume design: https://burtsdrama.com/stage-designers-lesson-6-costume-design/ PAT 3 Lighting design: https://www.youtube.com/watch?v=wqMYsjHU5rU https://www.youtube.com/watch?v=YuhK6q4XALU NOTE: As with the CAPS Topics, this PAT guideline for Design does not provide the process, pedagogy or methodology of teaching, learning and assessing these three PATs. This is each individual teacher's training and responsibility must be applied and demonstrated. It is therefore essential that only teachers who have FORMAL experience, competency or a qualification in this field, offer this option to learners. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 37 DBE/PAT 2021 NSC ANNEXURE N 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 to The candidate The candidate The candidate The candidate designer demonstrate demonstrates limited demonstrates demonstrates demonstrates understanding that the understanding that the adequate complete outstanding and role of the designer is role of the designer is understanding that the understanding that the insightful to research, to research, role of the designer is role of the designer is understanding that the conceptualise and conceptualise and to research, to research, role of the designer is actualise the world of actualise the world of conceptualise and conceptualise and to research, the play through the play through actualise the world of actualise the world of conceptualise and design elements, e.g. design elements, e.g. the play through the play through actualise the world of set, costume, music, set, costume, music, design elements, e.g. design elements, e.g. the play through sound effects, set sound effects, set set, costume, music, set, costume, music, design elements, e.g. pieces, special pieces, special sound effects, set sound effects, set set, costume, music, effects, properties, effects, properties, pieces, special pieces, special sound effects, set lighting, make-up. lighting, make-up. effects, properties, effects, properties, pieces, special lighting, make-up. lighting, make-up. effects, properties, lighting, make-up. Given The candidate fails to The candidate The candidate The candidate The candidate circum- demonstrate demonstrates limited demonstrates demonstrates demonstrates stances understanding of how understanding of how adequate complete and highly outstanding, insightful to interpret and realise to interpret and realise understanding of how effective and highly effective in her/his design the in her/his design the to interpret and realise understanding of how understanding of how given circumstances, given circumstances, in her/his design the to interpret and realise to interpret and realise e.g. plot, the facts, the e.g. plot, the facts, the given circumstances, in her/his design the in her/his design the incidents, the period, incidents, the period, e.g. plot, the facts, the given circumstances, given circumstances, the time and place of the time and place of incidents, the period, e.g. plot, the facts, the e.g. plot, the facts, the the action and the the action and the the time and place of incidents, the period, incidents, the period, way of life in the play. way of life in the play. the action and the the time and place of the time and place of way of life in the play. the action and the the action and the way of life in the play. way of life in the play. Background The candidate fails to The candidate The candidate The candidate The candidate and context demonstrate demonstrates limited demonstrates demonstrates demonstrates understanding of how understanding of how adequate complete and highly outstanding, insightful to interpret and realise to interpret and realise understanding of how effective and highly effective in her/his design the in her/his design the to interpret and realise understanding of how understanding of how background and background and in her/his design the to interpret and realise to interpret and realise context of the play: context of the play: background and in her/his design the in her/his design the social, political, social, political, context of the play: background and background and religious, economic, religious, economic, social, political, context of the play: context of the play: artistic, historical, artistic, historical, religious, economic, social, political, social, political, theatrical. theatrical. artistic, historical, religious, economic, religious, economic, theatrical. artistic, historical, artistic, historical, theatrical. theatrical. Theatre The candidate fails to The candidate The candidate The candidate The candidate spaces demonstrate demonstrates limited demonstrates demonstrates demonstrates understanding of how understanding of how adequate complete and highly outstanding, insightful to create appropriate to create appropriate understanding of how effective and highly effective designs for the designs for the to create appropriate understanding of how understanding of how different stage spaces different stage spaces designs for the to create appropriate to create appropriate e.g. proscenium , e.g. proscenium , different stage spaces designs for the designs for the arena, thrust, etc. arena, thrust, etc. e.g. proscenium , different stage spaces different stage spaces arena, thrust, etc. e.g. proscenium , e.g. proscenium , arena, thrust, etc. arena, thrust, etc. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 38 DBE/PAT 2021 NSC ANNEXURE N (continued) 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 to The candidate The candidate The candidate The candidate shows ideas for explore ideas for demonstrates demonstrates demonstrates good evidence of excellent design possible design moderate generation adequate generation generation of ideas for idea-generation and conceptual- elements in any detail of ideas for possible of ideas for possible possible design brainstorming, with a isation or does so in only one design elements in at design elements, with elements, with a good range of visual and design category. least two of the design some selection of selection of visual and sensory material categories. visual and sensory sensory material collected for use in the material collected for collected for use in the final design use in the final design, final design, in at least conceptualisation in at in at least two of the three of the design least three of the design categories. categories, design categories, demonstrating some demonstrating original thinking. excellent original thinking and creativity. Design The candidate fails to The candidate The candidate The candidate The candidate elements; demonstrate demonstrates demonstrates demonstrates good demonstrates visual and understanding, moderate adequate understanding, exceptional aural selection and creation understanding, understanding, selection and creation understanding, of appropriate and selection and creation selection and creation of appropriate and selection and creation relevant design of appropriate and of appropriate and relevant design of appropriate and elements, or does so relevant design relevant design elements in at least relevant design in only one design elements in at least elements in at least three of the design elements in at least category. two of the design two of the design categories. three of the design categories. categories. categories. Realisation The candidate fails to The candidate realises The candidate realises The candidate realises The candidate realizes of design realise his/her ideas his/her ideas his/her ideas his/her ideas his/her ideas elements practically in the final practically in the final practically in the final practically in the final practically in the final design of the piece. design of the piece, in design of the piece, in design of the piece, in design of the piece, in This may be due to one or two of the at least two design at least three design at least three design the use of design categories. categories to some categories, to good categories, to inappropriate Some design extent. Some design effect. The majority of exceptional effect. All materials, insufficient elements may be elements may be design elements work design and technical care taken, equipment stronger than others, stronger than others, seamlessly and there elements work malfunctioning etc. with noticeable with some technical are few, if any, seamlessly, supporting technical glitches in glitches in realisation. technical glitches in the final performance realisation. realisation. and its reception by the audience. Creating a The candidate fails to The candidate brings The candidate brings The candidate brings The candidate brings cohesive bring the different different design different design different design design elements theatrical design elements elements together in elements together in elements together in together seamlessly whole together so that they one or two design at least two design at least three design and to exceptional work cohesively and categories but there categories but there is categories, to good effect so that they together contribute to are some elements something missing or effect contributing to together contribute to a cohesive theatrical missing or at odds, at odds which prevent the creation of a a cohesive theatrical whole. which prevent the the creation of a cohesive theatrical whole of considerable creation of a cohesive cohesive theatrical whole. impact and power. theatrical whole. whole. Design elements are found across three or more design categories. Director/ The candidate fails to The candidate submits The candidate submits The candidate submits The candidate submits Theatre submit a *D/TMN with a *D/TMN with limited a *D/TMN with a *D/TMN with a *D/TMN with Maker evidence of research, and incomplete adequate evidence of complete and outstanding, insightful Notebook preliminary and final evidence of research, research, preliminary insightful evidence of and highly effective *(D/TMN) technical plans and preliminary and final and final technical research, preliminary evidence of research, sketches such as technical plans and plans and sketches and final technical preliminary and final lighting, sound, etc. sketches such as such as lighting, plans and sketches technical plans and with artistic lighting, sound, etc. sound, etc. with artistic such as lighting, sketches such as motivations and with artistic motivations and sound, etc. with artistic lighting, sound, etc. execution of the plan. motivations and execution of the plan. motivations and with artistic execution of the plan. execution of the plan. motivations and execution of the plan. Interview The candidate fails to The candidate arrives The candidate's The candidate's The candidate's arrive for the interview for the interview; responses to the responses to the responses to the or fails to provide responses to the interview panel's interview panel's interview panel's satisfactory answers interview panel's questions and questions and questions and posed by the interview questions are limited enquiries are enquiries are insightful enquiries are panel. and often not adequately and partly and well-motivated. outstanding, insightful satisfactorily satisfactorily and highly effectively motivated. motivated. motivated. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 39 DBE/PAT 2021 NSC ANNEXURE O DIRECTING/THEATRE MAKING ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 DESCRIP- 0–9 10–19 20–29 30–39 40–50 TOR 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 the overall aural and world of the play, e.g. visual world of the play, world of the play, e.g. overall aural and visual visual world of the creating a vision, e.g. creating a vision, creating a vision, world of the play, e.g. play, e.g. creating a applying appropriate applying appropriate applying appropriate creating a vision, vision, applying styles and genres, styles and genres, styles and genres, applying appropriate appropriate styles technical aspects, technical aspects, design technical aspects, design styles and genres, and genres, technical design elements elements (lighting, sound, elements (lighting, sound, technical aspects, design aspects, design (lighting, sound, costume, make-up, set), costume, make-up, set), elements (lighting, sound, elements (lighting, costume, make-up, the publicity (poster, the publicity (poster, costume, make-up, set), sound, costume, set), the publicity programme and programme and the 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 and of understanding of demonstrating a limited understanding of the of the assigned play. mastery and creative obstacles 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 analysis: submit a script a limited script analysis adequate script analysis insightful script analysis an insightful and creative Character analysis and and description of the and description of the and description of the script analysis and relationships 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 analysis: submit an analysis of a limited analysis of the adequate analysis of the insightful analysis of the an 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 40 DBE/PAT 2021 NSC ANNEXURE O (continued) DIRECTING/THEATRE MAKING ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 DESCRIP- 0–9 10–19 20–29 30–39 40–50 TOR 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 (Stanislavski) directing: blocking, e.g. directing: blocking, over, masking. blocking, cross over, and clear communication terminology cross over, masking, cross over, masking. Acting: magic if, masking. skills, e.g. directing: 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 41 DBE/PAT 2021 NSC ANNEXURE P STAGE MANAGEMENT ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARK 0–9 10–19 20–29 30–39 40–50 DESCRIPTOR NOT MODERATELY ADEQUATE SUBSTANTIAL MERITORIOUS 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 all evidence 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 42 DBE/PAT 2021 NSC ANNEXURE P (continued) STAGE MANAGEMENT ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARK 0–9 10–19 20–29 30–39 40–50 DESCRIPTOR NOT MODERATELY ADEQUATE SUBSTANTIAL MERITORIOUS 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 stage submitted 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 aspects aspects 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 andset 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, light cues, 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 The candidate The candidate arrives The candidate arrives The candidate arrives for the fails arrives for the for the interview, for the interview, interview, submits a complete to arrive for the interview, submits submits a complete submits a complete stage manager prompt script and interview or to an incomplete stage stage manager stage manager prompt provides insightful, well- submit a stage manager prompt prompt script and script and provides motivated and thoughtful manager prompt script and provides provides satisfactory satisfactory and well- answers posed by the script or fails to brief and answers posed by the motivated answers examination panel. provide satisfactory unsatisfactory examination panel. posed by the answers posed by answers posed by examination panel. the examination the examination panel. panel. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 43 DBE/PAT 2021 NSC DEBRIEFING OF THE PATs PERFORMANCE SECTIONS ANNEXURE Q 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 44 DBE/PAT 2021 NSC ASSESSMENT/MARKING AND MODERATION: GOOD PRACTICE ANNEXURE R: PRINCIPLES 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? MODERATION TOOL ANNEXURE S: TEMPLATE FOR INTERNAL AND PROVINCIAL MODERATION 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 45 DBE/PAT 2021 NSC SCHOOL QUALITY ASSURANCE AND STANDARD SETTING MODERATION OF PATS. TEACHER PLANNING AND LEARNER EVIDENCE FOCUS PRACTICAL ASSESSMENT TASKS 1, 2 AND 3 SUBJECT DRAMATIC ARTS GRADE TEACHER NAME AND SURNAME YEAR 2021 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)Less on 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? TASK 6: 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 6: 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 46 DBE/PAT 2021 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