Dramatic Arts PAT GR 12 2022 Eng

Downloaded from hlayiso.com DRAMATIC ARTS GUIDELINES FOR PRACTICAL ASSESSMENT TASKS GRADE 12 2022 These guidelines consist of 49 pages. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 2 DBE/PAT 2022 NSC TABLE OF CONTENTS 1. INTRODUCTION 3 2. TEACHER GUIDELINES 4 2.1 Covid-19: Implications and amendments to the PATs 4 2.2 General 4 2.3 Aims 4 2.4 Some ideas and approaches 5 2.5 How to administer the PATs 7 2.6 How to mark/assess the PATs 7 2.7 Moderation of PATs 8 3. LEARNER GUIDELINES 10 3.1 Instructions to learners 10 3.2 Practical assessment tasks 10 3.3 Assessment/Moderation rubrics/tools 12 3.4 Example of three contrasting dramatic items combined in a theme-/audition 13 programme 3.5 Theme/Audition programme: PAT 1 to 2 to 3 checklists of outcomes and 15 criteria 3.6 Film making: PAT 1 to 2 to 3 checklists of outcomes and criteria 16 3.7 Design: PAT 1 to 2 to 3 checklists of outcomes and criteria 17 3.8 Stage management: PAT 1 to 2 to 3 checklists of outcomes and criteria 18 3.9 Absence or non-submission of PATs 20 3.10 Requirements for presentation of PATs 20 3.11 Timeframes 20 3.12 Declaration of Authenticity 21 4. LIST OF RESOURCES 22 5. CONCLUSION 23 6. STANDARDISATION/ASSESSMENT/DEBRIEFING/MODERATION TOOLS: 24 ANNEXURES A–R Copyright reserved

Downloaded from hlayiso.com Dramatic Arts 3 DBE/PAT 2022 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. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 4 DBE/PAT 2022 NSC 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 cyclically. Learners should demonstrate applied competence in the form of dramatic items such as a poem, monologue, prose, scene/extract from a published play, 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. 2.3 AIMS Both the Written and the Performance Sections aim to:  Most importantly ensure thorough TEACHING and deep/complex LEARNING has taken place. Guard against an assessment-driven approach. Plan your lesson plans to ensure enough time is spent on you, the teacher, TEACHING and the learner LEARNING. The formal assessment of the PATs is merely the end point of a long process based on teaching and active learning. NOTE: Deep learning is an approach and an attitude to learning, where the learner uses higher-order cognitive skills such as the ability to analyse, synthesize, solve problems, and thinks meta-cognitively in order to construct long-term understanding. It involves the critical analysis of new ideas and linking them to already known concepts and principles so that this understanding can be used for problem solving in new, unfamiliar contexts. Deep learning entails a sustained, substantial and positive influence on the way students act, think or feel. Deep learning promotes understanding and application for life.  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. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 5 DBE/PAT 2022 NSC  Provide the opportunity to build a varied theoretical and practical repertoire in terms of process and product.  Integrate theory and performance concepts, skills, knowledge and content.  Prepare the learners for the complex cognitive and abstract theoretical and performance demands of the mid-year, trial and end-of-year examinations: o Paper 1: Written Examinations o Paper 2: Performance Examinations: Theme/Audition or Technical Programme 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, for example, should occur over the three-year period and not only in Grade 12. (Ensure every period or moment of teaching is focused.)  The transfer of knowledge, acquisition of skills and change in attitudes and values are embedded in an ongoing deep process approach. It is within the process that creative thinking, creativity, imagination, visualisation, problem-solving and critical thinking are discovered, explored, conceptualised, implemented, developed and applied. These aspects cannot be attained through individual methodologies or product creation.  Consciously develop learners' content knowledge as well as the academic and technical rigour of the subject. At the end of Grade 12 learners should demonstrate applied competence of the Curriculum Assessment Policy Statement from Grade 10 to 11 to 12. Ensure that the integrity of technical skills, style, genres, principles etc. of the dramatic forms are maintained and demonstrated at all times. (E.g. an Elizabethan poem may be interpreted creatively, but the form and style of the iambic rhythm, the phrasing, the heightened poetry, the vocal and physical delivery, etc. of the Elizabethan genre must be mastered and demonstrated.) Process, meaning, creative voice and product:  Very few learners can complete a brief on their own. You, as the teacher, must guide and facilitate the creative process from inception to completion.  Be open-minded about divergent ideas, creative inferences, innovation and offered solutions.  Remember, you must guide the aesthetic qualities and skills of the tasks.  It is the task of the teacher to enable the learner to find his/her own creative voice.  Try to lead the learners to find individual and innovative approaches/solutions.  Guide them to develop ideas by working from first-hand observation, e.g. attending and discussing plays, critiquing TV programmes and films.  Guide learners to eliminate source material that lacks aesthetic appeal. Dramatic forms should be selected from a credible published source or recognised oral tradition rooted in indigenous knowledge systems. Caution: ensure all dramatic items are sourced from published play texts, novels etc. Be careful when the internet is used to source items. Ensure they are of a high quality and published on a reputable site. Learners' styles and creativity:  Learners should be confident and calculated risk takers, trying out new ideas and processes without fear of failure.  It is important that confidence is encouraged and nurtured to ensure learners feel comfortable about taking risks and learning from their mistakes.  Create high-risk, low-threat/safe environment.  As far as possible know your learners in order to develop their particular strengths. Some will be careful planners, while others work more intuitively. Some will exhibit their work process outwardly; others work quietly, slowly and in private. Appreciate, nurture and, most of all, respect all work styles.  Extrovert learners may readily offer a solution to another learner's mistakes. Encourage the extrovert to rather focus on their own process and encourage the introverted learner to offer and communicate their own solution. Extroverts are not necessarily leaders. Often the introverted learner is more conscious of detail, process and meaning. Encouraging these learners' voices and opinions may enrich discussions. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 6 DBE/PAT 2022 NSC  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.  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 facilitates learners to talk and discuss their own and their classmates' processes/work in an informed and constructive way. Base this discussion on the content in the CAPS.  Be skilled at listening. Dramatic Arts is about effective and skilled communication. Practice and promote a culture of 'listening to understand' and not only 'listening to dispute 'or 'disagree'. Be careful not to enforce a simplistic understanding of 'listening' to ensure learners do not 'talk back' or express their points of view or the construct from which they have worked. You may even have to change your well thought-out position based on knowledge you have as a teacher. There is not only one way of doing things, but multiple ways.  It is important to view and discuss the body of work by learners 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 journals. Apply the principle of: 'what is not documented did not happen'. This will help to develop critical and creative thinking and will make the selection and ordering of ideas more transparent and conscious.  Beware of damaging criticism. It is advisable to start with the positive and then move to areas that can be improved. Enter into dialogue with a learner, e.g. 'I think it will be more effective if you change this … What do you think?' This makes them feel part of the process and makes them think about their work. Use coaching and de-briefing skills. Create a space in which learners may disagree with you.  Guide learners to be effective, independent, critical, creative and reflective thinkers. Do not underestimate learners; challenge them, as they often rise to the occasion. Use a range of questions that extend and deepen learners' ability to re-consider their creative choices. This should lead them to ask: 'If this is how it is now, how else can it be?' Reflection:  As a starting point; reflection is best done against the agreed upon rubric criteria. Reflective practices include reflection before, during and after a task. Teachers may also, as a learning tool, use the rubric criteria as questions to debrief and reflect on the evidence produced by the learner. At the end of each PAT (Written and Performance Sections) there should be reflection/feedback on the work presented. Teachers need to share comments on the strengths and the weaknesses. This will provide learning and improvement points for the learner to implement for continuous development and mastery.  This may be either written or verbal feedback and it could take the form of: self-reflection, class/teacher reflection and marking, peer reflection, open critique session guided by the TEACHER as well as the learner. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 7 DBE/PAT 2022 NSC 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 on the timetable 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 is 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; using 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.  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 until the final results are released. Keep these written pieces and DVD-saved performances locked up in your classroom. This is a school responsibility.. 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.  Determines whether the Guidelines for Standardisation of the Written Sections were followed.  Uses the relevant rubrics for the: o Theory Section: rubrics for the assignment, essay and research o Performance Section: rubrics for a poem, monologue, prose, movement and extract as well as the rubrics for the design, directing, film and stage management  Measures the learners' evidence and performance against the criteria and level descriptors of the rubrics.  Adheres to the following principles of: o Fairness: An assessment should allow for learners of all genders (LBTQ plus) 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 jeopardised if bias exists in the task or in the marker. For a task to be fair, its content, context and performance expectations should: reflect knowledge, skills and experiences that are equally familiar and appropriate to all learners. This should include access to research resources. o Reliability: An assessment is considered reliable when the same results occur regardless of when the assessment occurs or who does the marking. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 8 DBE/PAT 2022 NSC o Validity: An indication of how well an assessment actually measures what it is supposed to measure. A valid task should:  Reflect actual knowledge or performance, not test-taking skills and memorised facts  Engage and motivate students to perform to the best of their ability  Be consistent with current educational theory and practice  Be rigorous in lesson plan design and teaching. This includes the design of detailed instructions, activities and exercises. This promotes scaffolding of thinking, planning for thinking, assessing thinking about content, recognising the level of thinking students demonstrate. Be relevant in lesson plan design and teaching. This enhances the learners' ability to evaluate, justify, infer, predict, conclude, revise, recommend, argue, prioritise, formulate, etc. A relevant task is when learners recognise the connection between classroom knowledge and situations outside the classroom. 2.7 MODERATION OF PATs 2.7.1 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. 2.7.2 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. 2.7.3 Moderation is a shared understanding of several steps and processes. Familiarise yourself with the meaning, purpose and scope of the following steps/processes: Step 1: Verification This is a quick and short first step in the moderation process. A checklist is used to tick off which items of evidence, as required by policy, have been submitted for moderation. Step 2: Moderation A template that lends itself to analyse the spread and scaffolding of Blooms' Taxonomy's 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? 2.7.4 Standard Setting Internal standardisation provides a system for checking the quality of assessment to make sure that it is:  Valid – relevant to the standards for which competence/attainment is claimed  Authentic – produced by the learners  Current – sufficiently recent for assessors to be confident that the learner still has the same level of skills or knowledge  Reliable – genuinely representative of the learner's knowledge and skills  Sufficient – meets all the requirements of the standards in full  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. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 9 DBE/PAT 2022 NSC 2.7.5 Quality Assurance Officials must ensure the processes of the following are followed and available as evidence: Teacher training: all Dramatic Arts teachers must have official higher education training to offer the subject: minimum 3-year degree in Drama, PGCE as well as CAPS training. Teacher plans: above 1, 2 and 3 items of evidence must be of value and be fair, valid and reliable. Clear teaching, learning and assessment of topics (skills, content, knowledge and concepts) must be contained in each activity, exercise, instruction, brief, etc. These must be scaffolded from lower to middle to higher-order in terms of Blooms' Taxonomy. 2.7.6 Standardisation Standardisation is a process used the world over to mitigate the effect of factors other than the learners' knowledge and aptitude on the learners' performance. Officials must use the moderation evidence to assist teachers to understand, interpret and implement the CAPS Topics skills, knowledge, content and concepts 2.7.7 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 10 DBE/PAT 2022 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 integrate the theoretical and practical concepts, skills and content at all times. Select and prepare your three contrasting drama items for your end-of-year performance examination. NOTE: To select an item a month before your final examination is not a good idea, the reason being that emotional and physical integration takes time. You need months to grow into a poem, etc. Writing and theoretical conceptualisations, as well as higher-order thinking skills, take practice. Use the three writing/theoretical sections to ensure you know how to write down your thoughts, learning and experiences in a form that will achieve the aims, structure and form of a written examination. 3.2 PRACTICAL ASSESSMENT TASKS ANNUAL PROGRAMME OF ASSESSMENT GRADES 10 AND 11 TERM 1 TERM 2 TERM 3 TERM 4 Task 1: Task 2: Task 5: Task 6: Practical Assessment Task Practical Assessment Task Practical Assessment Task Grades 10 and 11  Written Section (25)  Written Section (25)  Written Section (25) End-of-year examinations  Performance Section (25)  Performance Section (25)  Performance Section (25)  Written Examinations (150) Task 3: Task 7: Mid-year Grades 10 and 11 Written Control Test (100) End-of-year examinations Task 4:  Performance Examinations Mid-year (150) Performance Control Test (100) ANNUAL PROGRAMME OF ASSESSMENT GRADE 12 TERM 1 TERM 2 TERM 3 TERM 4 Task 1: Task 2: Task 5: Practical Assessment Task Practical Assessment Task Practical Assessment Task  Written Section (25)  Written Section (25)  Written Section (25)  Performance Section (25)  Performance Section (25)  Performance Section (25) Task 3: Mid-year Task 6:  Written Examinations (150) Trial Examinations Written examinations (100) Final National External Task 4: Examinations Mid-year Task 7: Paper 1: performance examinations Trail examinations Written Examinations (150)  Performance Examinations (150) (100) Final National External Examinations Paper 2: Performance Examinations (150) Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 11 DBE/PAT 2022 NSC WRITTEN SECTIONS The following information is standardised for each year’s PATs. This is to ensure standardisation across the provinces as well as benchmarking the outcomes and criteria for a Grade 12 level. The pointers below must be followed. Some examples of presentation modes are shared below. It is not practical to list all types of modes or formats. Aim for creative and unique presentations. JOURNAL ESSAY RESEARCH Learners: Learners: Learners: This PAT section may be in Use the theoretical support Collect additional outside the form of a journal, collage, material given to you by your source material to do etc. Also explore innovative teacher (textbook, classroom independent research to ways of keeping a journal, notes) to write the essay. enrich your understanding of e.g. electronic journal and a Make sure you follow the the research brief and blog. Make sure you know guidelines and brief instructions. Make sure that exactly what your teacher instructions set by your you look at as many different has briefed and instructed teacher. Use this PAT sources as possible. The you to present. You should section to practise your internet is only one option follow the following essay-writing skills in and is not always reliable. processes when you write a preparation for the essays in At all times be ethical in your journal: the written examination. research. Research requires: 1. Collect Ensure your essay follows 1. Use of a variety of 2. Analyse the basic format of an essay: sources 3. Interpret 1. Introduction 2. Comparing 4. Reflect 2. Body of knowledge 3. Contrasting 5. Present information on 3. Conclusion 4. Highlighting your own personal 5. Finding practical skills 6. Presenting development journey. PERFORMANCE SECTIONS Each of the three Performance Sections of the PATs should be used by you to select, prepare and present your dramatic items for your end-of-year final external performance examination:  Theme Programme OR  Audition Programme OR  Technical Theatre Programme. Once you have performed your dramatic 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. These are examples only. You may use other examples, but it is essential that all alternative dramatic items adhere to the CAPS criteria and the subject Dramatic Arts. A song or dance may not be selected as a complete dramatic item. These items are assessed in Dance Studies and Music. Songs and dances, short and relevant to the theme of the theme-/audition programme, may be used as the prescribed links between the three selected dramatic items NOTE: As per the CAPS: For both the theme/audition programmes relevant links must be created between each dramatic item. A continuous performance must be presented for the trial and final performance examinations at the end of the year. Candidates may not leave the stage/performance area after each item has been performed. 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 12 DBE/PAT 2022 NSC 3.3 ASSESSMENT/MODERATION RUBRICS/TOOLS WRITTEN SECTIONS: An assessment tool/rubric is provided for the assignment, essay and research tasks. These are available in both the CAPS and this PAT document – annexures at the end of the document. PERFORMANCE SECTIONS: Select and analyse one dramatic item for each of the three PATs: Performance Section: 1. Individual theme/audition programme: Select three contrasting dramatic items; contrasting in genre, movement and form. 2. Technical theatre programme: (Stage management, directing, film making, design, theatre making): Select either a one-person show or one dramatic item  Genres and Movements: Commedia dell Arte/Greek Theatre/South African Theatre/Realism in the Theatre/ Elizabethan Theatre/Epic Theatre/Poor Theatre/Theatre of the Absurd/Postmodern Theatre  Dramatic Forms: Poem/storytelling/monologue/prose/praise poem/dramatised prose/mime/ physical theatre/movement/mime Once you have prepared and presented your work on a dramatic item, keep on developing and improving it throughout the year Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 13 DBE/PAT 2022 NSC 3.4 EXAMPLE: THREE CONTRASTING PAT DRAMATIC ITEMS SELECTED FOR AN INDIVIDUAL THEME PROGRAMME TITLE: STOP ABUSING ANIMALS AND NATURE PAT 1: DRAMATIC ITEM 1: AFRICAN STORYTELLING GENRE: AFRICAN DRAMA FORMS PUBLISHED: https://www.travelbutlers.com/safari/wildlife-guide/folklore-cheetah.asp TITLE: WHY THE CHEETAH CRIES One day, a hunter left his village to go and find food for his family. He passed a small clearing and noticed a young Impala who had strayed away from the main herd. While the hunter was working out the best way to catch the Impala, he noticed a mother Cheetah in the long grass near the Impala. Suddenly, the Cheetah leapt out of the grass and with great speed bore down and caught the Impala before it had a chance to run away. The hunter marvelled at the Cheetah's hunting ability and wished that he could have a Cheetah to train to catch food for him. Then he noticed her three young cubs sitting nearby in the shade of a tree, watching their mother kill the Impala for their dinner. 'This could be the answer,' thought the hunter. 'Why don't I steal one of the cubs and take it back to the village with me, so that I can train it to hunt for me instead.' Quick as a flash, the hunter ran over to the cubs, and picked up the nearest one. 'Why not take all three,' he then thought. 'That way, I'll be able to catch three times as much food for my family.' The hunter scooped all three cubs into his bag and ran off. The mother Cheetah dragged her kill back to where she had left her cubs and was distraught to see that they had gone. She cried and cried for hours, and the tears made a dark stain down her cheeks. An old man passed by and asked what was wrong. When he heard that the cubs were missing, he realised that the three cubs that had been brought into his village that morning by the hunter must belong to the mother Cheetah. He promised to return the cubs to her immediately and went to the village. The old man scolded the hunter for not only stealing the cubs, but for dishonouring the tribe's hunting traditions of using their own abilities and skills. When the cubs were returned to their mother, she was very grateful, but the hours of crying meant that her face was permanently stained with the dark stripes. [Source: http://vlad-art.co.uk/Cheetah-Cubs-Savannah-Africa-Pencil-Drawing] LINK 1 'Earth provides enough to satisfy every man's need, but not every man's greed.' –Mahatma Gandhi PAT 2: DRAMATIC ITEM 2: MONOLOGUE GENRE: REALISM PUBLISHED: This monologue is reprinted from The Moscow Arts Theatre Series of Plays. Ed. Oliver M Sayler. New York: Brentanos, 1922. TITLE: A monologue from the play UNCLE VANYA by Anton Chekhov ASTROFF: You can burn peat in your stoves and build your barns of stone. Oh, I don't object, of course, to cutting wood when you have to, but why destroy the forests? The woods of Russia are trembling under the blows of the axe. Millions of trees have perished. The homes of the wild animals and the birds have been laid desolate; the rivers are shrinking, and many beautiful landscapes are gone forever. And why? Because men are too lazy and short-sighted to stoop and pick their fuel from the ground. Am I not right? Who but a senseless barbarian could burn so much beauty in his stove and destroy what he cannot create himself? Man has reason and creative energy so that he may increase his possessions. Until now, though, he has not created but destroyed. The forests are disappearing, the rivers are drying up, the game is being exterminated, the climate is spoiled and the earth becomes poorer and uglier every day. I read irony in your eye; you do not take seriously what I am saying; and -- and -- perhaps I am talking nonsense. But when I cross peasant-forests which I have saved from the axe, or hear the rustling of the young trees which I have set out with my own hands, I feel as if I had had some small share in improving the climate, and that if mankind is happy a thousand years from now I shall have been partly responsible in my small way for their happiness. When I plant a young birch tree and see it budding and swaying in the wind, my heart swells with pride and I -- however -- I must be off. Probably it is all nonsense, anyhow. Goodbye. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 14 DBE/PAT 2022 NSC LINK 2 'We are all one' and 'All creatures low and high are one with nature. No life is insignificant'. –Taoist saying PAT 3: DRAMATIC ITEM 3: POEM GENRE: REALISM PUBLISHED: https://www.poetrysoup.com/poem/paradise_warns_1360422 TITLE: 'PARADISE WARNS' Creation perfectly wrought designed by God for mankind precious gift to tend with responsible stewardship… such was magnificent in the beginning a paradise of wonders. Paradise indeed, yet corrupted as inhabitants keep on maligning her elegance of grace-filled beauty --- now … Mother Earth grievously languishes. Mother Earth oh, verily afflicted with men's exploits while technology soars toward progress' crest leaving her virgin forests ravaged against original stature: Nature at its best. Nature sighing in desperate disgust at civilization's arrogance along mocking skeptical mirth never stops to give stern warning tolerating not abuse to planet, once verily functional. Planet offering life brings earnest admonition inflicting guilt…to heed, hopeful we do so, lest in despair wail for wasted creation. [Source: https://www.pngwing.com/en/free-png-nycyz] Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 15 DBE/PAT 2022 NSC 3.5 THEME/AUDITION PROGRAMME COVID CONTEXT: INDIVIDUAL ADAPTED PROGRAMME. NO DIALOGUE OR SCENE. NOTE: ONLY teachers who have FORMAL training, a qualification or experience in drama, voice, acting and theatre performance may teach this option. NOTE: The following are ONLY examples, PAT 1 as a poem, PAT 2 as a monologue, etc. Teachers and learners may decide on any type of dramatic item for any of the PATs, e.g. Storytelling for PAT 1, Praise Poem for PAT 2, etc. PAT 1 PAT 2 PAT 3 DRAMATIC ITEM 1 DRAMATIC ITEM 2 DRAMATIC ITEM 3 POEM MONOLOGUE PHYSICAL THEATRE  Preparation  Preparation  Practical/Performance Skills  Understanding poem  Impact of monologue  Understand and use a range of  Expression of meaning  Understanding of monologue movements, choreographic styles and  Vocal expressiveness  Vocal characterisation processes. Show competence and  Vocal clarity  Vocal clarity confidence in movement performance so  Physical work  Physical characterisation that ideas are understood.  Emotional connection  Stage sense use of space  Experimentation (Development and  Creation of appropriate  Emotional connection realisation of ideas) mood  Playing of subtext  Use a variety of stimuli, accompaniments  Use of poetic devices  Interpretation of character and movement styles to create sequences.  Impact of poem  Relationship to listener Expand and develop an idea from the original stimulus and to try out ideas and  Believability select and reject them with reason  Structure of monologue and confidence in order to complete  Rhythms/Shape of monologue a task.  Creation of appropriate genre/style  Critical Awareness  Make analytical comments which helps improve the structure and performance of own and others' work.  The ability to compare and contrast the work of different movement styles. Understand the difference between objective judgments and personal preference when creating, using and watching movement forms.  Personal and Social Skills  Work co-operatively as a member of a group, sharing ideas so that the task is completed. Work at developing an idea and organising work independently. Sustain focus and effort through all stages and kinds of work The three dramatic items/PATs above may be used for the end-of-year individual adapted theme programme. However, note that to become a theme/audition programme, two links need to be created and rehearsed to create a continuous running performance. WATCH AND LEARN When I Die: https://www.youtube.com/watch?v=COAAvcpocU4 If Tomorrow Starts Without Me: https://www.youtube.com/watch?v=8YMJcIvpUlc How to Perform a Monologue :https://www.youtube.com/watch?v=9b0mzm7jDEs Antony in Julius Caesar: https://www.youtube.com/watch?v=q89MLuLSJgk Laura Carmichael as Portia: https://www.youtube.com/watch?v=wmmBT_4dmI0 Monologue: https://www.youtube.com/watch?v=q9OTmPhKQos Monologue: Conformity: https://www.youtube.com/watch?v=E8BYDK9JX5E Poem: Invictus: https://www.youtube.com/watch?v=3Uc9wS3DOPo Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 16 DBE/PAT 2022 NSC 3.6 FILM MAKING NOTE: Only teachers who have formal training, a qualification or experience in film making may teach this option. PRODUCTION PHASES, OUTCOMES AND CHECKLIST PAT 1 PAT 2 PAT 3 PRE-PRODUCTION PRODUCTION POST PRODUCTION The pre-production phase is the The production phase begins  Review the footage planning process of every task before with the recording of the  Create a paper edit production begins. footage. This process will  Familiarise yourself with the  Select a script (dramatic item) capture all the scenes and operations of the editing programme  Analyse the script information from the  Import picture and sound to editing  Break down the script into scenes production process. software on the computer  Brainstorm ideas  Production meeting (script  Keep an editing log of edits/cuts, etc.  Create the final film script analysis, scene breakdown,  Edit 1st rough draft footage  Create and decide on the concept storyboard, shots,  Edit sound/music/music/dialogue and your vision as a filmmaker schedules  Export for viewing  Create the story board  Finalise camera angles,  Edit 2nd draft  movements and shots Cast the actors  Complete title sequence   Create a shot list Decide on and create the designs  Complete credit list  Create shooting schedule for the film (props/costume/set/  Edit final draft  Prepare the location lighting, etc.)  Lock picture   Set up the set Select props  Output project to final format   Set up the shots Select costume  Make copies   Rehearse the scene Select locations  Record and reflect on all above tasks  Finalise the crew  Shoot the scenes in your film-making journal  Finalise lighting ideas  Log footage  Finalise camera angles, movements  Record and reflect on all and shots above tasks in your film-  Create a shooting schedule making journal  Obtain editing software app or programme  Understand the working of cellphone to record footage  Record and reflect on all tasks above in your film-making journal The three production phases above, as achieved through the completion of the three PAT as well as the tasks listed above, places the film-making technical programme on a similar level as the individual adapted theme programme and the individual audition programme may be used. A further standardisation is to select a dramatic item as the 'film script', e.g. a published poem or a prose or monologue or dialogue (scene). The final short film may not exceed two minutes. 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 FILM CONVENTIONS AND TECHNIQUES THEORY: 1. Film terminology (close-up, medium shot, long shot, pan, dissolve, etc.) 2. Film conventions (flashback, fast forward, voice over, split screen, etc.) 3. Understand different film techniques. Study this PowerPoint presentation: https://rb.gy/1mz4mb 4. Understand film conventions and how these affect performances. Study this PowerPoint presentation. https://rb.gy/flu1i1 5. Use film techniques and conventions effectively: https://www.youtube.com/watch?v=NvybQ5RpMkc Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 17 DBE/PAT 2022 NSC 3.7 DESIGN NOTE: Only teachers who have formal training, a qualification or experience in theatre design may teach this option. PAT 1, 2 and 3 and ACCOMPANYING OUTCOMES and CHECKLISTS PAT 1 PAT 2 PAT 3 The first PAT requires the candidate The second PAT requires the The third PAT requires the candidate to to complete the whole process from candidate to complete the whole complete the whole process from selecting a design element to process from selecting a design selecting a design element to producing a first product, e.g. set element to producing a second producing a third and final product, design. product, e.g. costume. The two e.g. lighting (note the lighting colours/  Select a script (dramatic item) products must form an integrated effects can be applied to the set model  Analyse the script whole. and furniture or through projecting a  Research the period, genre, given  Apply the research of the torch through colour gels. The three circumstances, characters, stage script/dramatic item, the period, products must form an integrated space and social, political, genre, given circumstances, whole. religious, economic, artistic, characters, stage space and  Apply the research of the script/ historic and theatrical contexts social, political, religious, dramatic item, the period, genre,  Select and motivate the most economic, artistic, historical given circumstances, characters, appropriate stage space and theatrical contexts for stage space and social, political,  Create a breakdown and indicate PAT 1 to PAT 2's design religious, economy, artistic, historical where and how which design component and theatrical contexts for PAT 1 to component will be actualised  Use the PAT 1 script/item PAT 3's design component  Identify the 3 design components breakdown and identify the  Use the PAT 1 script/item breakdown and select the first one of three, style, type, period, etc. of the and identify the type, effects, etc. of e.g.: costumes the lighting o Set  Maintain and select another  Maintain and select another design o Costumes design team. Enrol the team. team. Enrol the team. o Lighting  Brainstorm ideas  Brainstorm ideas  Select and enrol the design  Apply design elements: Line,  Apply design elements: Line, colour, support team colour, texture, form, texture, form, movement and shape  Brainstorm ideas movement and shape to the: to the:  Apply design elements: line, o Drawings of the costumes o Set model colour, texture, form, space, o Construct up to two  Record and reflect on all above tasks movement and shape to the costumes with recycled in your design journal o Ground plan materials or available o Scale drawing and the set clothes o Miniature set  Record and reflect on all above  Record and reflect on all above tasks in your design journal tasks in your design journal/notebook. TECHNICAL THEATRE 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 PAT 1 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 Costume design: https://study.com/academy/lesson/costume-design-definition-history- PAT 2 process.html Costume design: https://burtsdrama.com/stage-designers-lesson-6-costume-design/ Lighting design: https://www.youtube.com/watch?v=wqMYsjHU5rU PAT 3 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 training and responsibility must be applied and demonstrated. It is therefore essential that only teachers, who have FORMAL experience, competency or a qualification in these fields, offer this option to learners. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 18 DBE/PAT 2022 NSC 3.8 STAGE MANAGEMENT NOTE: Only teachers who have formal training, a qualification or experience in film making may teach this option. NOTE: Candidates must select a dramatic item/short one-act play that makes provision for the film maker to use props, lighting, sound, costume etc. PAT 1, 2 and 3 and ACCOMPANYING OUTCOMES and CHECKLISTS PAT 1 PAT 2 PAT 3 The first PAT requires the The second PAT requires the The third PAT requires the candidate to complete the candidate to complete the candidate to finalise the following: following: following stage management  Provide a job description of a  Visualise the character's processes: stage manager movements and block them in  Imagine where there may be  Select a published five-minute relation to movement in the lighting and sound cues and one-person show script. Ensure space (stage areas) and the mark these in the script the play is of a high quality. If use of furniture and set  Indicate sound cues, speaker sourced from the internet ensure  From page one of the script, selection and sound level, the site is reputable. draw a floor plan of the with appropriate anticipation  Do a scene breakdown of the performance space on all the markers. The sound level is script left open spaces, e.g. appropriate to for the  Paste the script in your stage proscenium stage: performance space management prompt book. Use  Record all movements noted  Indicated all LX cues and the correct conventions, e.g. with the use of appropriate appropriate anticipation stage areas must be notated as abbreviations and reference markings. Notate the light USR for Up Stage Right, etc. to furniture and décor. area and light intensity  Analyse the script and present  Record and reflect on all appropriate to the your findings in the form of a above tasks in your stage performance space as well written journal for: management prompt/ as timing o Research on the period, notebook  Provide a complete cast list genre. Analysis of the given for each scene with full circumstances, characters, contact details via different stage space and social, mediums of communication political, religious, economic,  Create a pre-show call artistic, historical and schedule theatrical contexts  Provide an appropriate  Identify and list, per scene, the protocol for opening and following: closing procedures with calls o Set and timing as well as the o Furniture impulses required o Props  Compile a pre-show checklist  Select and motivate the most  Record and reflect on all appropriate stage performance above tasks in your stage space for the staging of the one management person show prompt/notebook  Visualise the set: placement of  The candidate arrives for the furniture, windows, doors, stairs, interview, submits a complete etc. stage manager prompt script  Draw a floor plan according to and provides insightful, well- metres converted to centimetres motivated and thoughtful and use staging terminology answers to questions posed  Map out the props table per by the examination panel scene, and indicate where you will place the props  Record and reflect on all above tasks in your stage management prompt/notebook Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 19 DBE/PAT 2022 NSC The stage https://slideplayer.com/slide/14966532/ General manager The stage https://www.wikihow.com/Become-a-Good-Stage-Manager manager Stage https://www.researchgate.net/figure/Actions-that-people-other-than-the-stage- manager – manager-must-perform-highlighted-in-the-second_fig3_333518202/download prompt and notebook Props table https://www.google.com/search?q=stage+manager+props+table&tbm=isch&ved=2 ahUKEwiigrPX5OLxAhURXxoKHb6RA4oQ2- cCegQIABAA&oq=stage+manager+props+table&gs_lcp=CgNpbWcQA1CUnCZYjr wmYMnCJmgAcAB4AIAB3AOIAdAckgEIMi0xMC4yLjGYAQCgAQGqAQtnd3Mtd2l PAT 1 6LWltZ8ABAQ&sclient=img&ei=o_buYOKkMJG- ab6jjtAI&bih=474&biw=1011&rlz=1C1GCEA_enZA867ZA867&hl=en https://www.youtube.com/watch?v=LdcBlquAV98 Floor plan https://www.google.com/search?q=stage+manager+floor+plan&tbm=isch&ved=2ah UKEwiR9YiF5-LxAhX1gM4BHRC9CfUQ2- cCegQIABAA&oq=stage+manager+floor+plan&gs_lcp=CgNpbWcQAzoCCAA6Bgg AEAUQHjoGCAAQCBAeOgQIABAYULLWAVjZ8QFg6PYBaABwAHgAgAH8AYgBx BKSAQQyLTEwmAEAoAEBqgELZ3dzLXdpei1pbWfAAQE&sclient=img&ei=HPnuY JH3GvWBur4PkPqmqA8&bih=474&biw=1011&rlz=1C1GCEA_enZA867ZA867&hl= en Blocking https://www.youtube.com/watch?v=7xOuqCJNevU PAT 2 https://www.youtube.com/watch?v=AsVbC_lrSAQ Lighting and https://www.theatrecrafts.com/pages/home/topics/lighting/lx-cues/ sound cues Call list https://www.youtube.com/watch?v=7dJRF0OW2aE Opening and https://www.youtube.com/watch?v=zWSk5LGgUb4 PAT 3 closing procedure Pre-show https://sites.google.com/site/bethelparkcrew/stage-management checklist NOTE: As with the CAPS Topics, this PAT guideline for stage management does not provide the process, pedagogy or methodology of teaching, learning and assessing these three PATs. 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 these fields, offer this option to learners. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 20 DBE/PAT 2022 NSC 3.9 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. No learner may be awarded zero for the PAT. The learner should be offered an opportunity to re-attempt and resubmit. 3.10 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. 3.11 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. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 21 DBE/PAT 2022 NSC 3.12 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. Learners will be required to answer practical-based questions in their final written paper, using a theoretical framework in their final written paper. 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 22 DBE/PAT 2022 NSC 4. RESOURCES The subject Dramatic Arts, like other subjects, requires specific resources for effective teaching, learning, presentations and performances to be achieved. 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 a drama qualification should teach and assess the CAPS and its respective annual programme of assessment which includes the three PATs. A suitably qualified teacher for this subject could have the following background:  Bachelor of Arts (Drama major)  Bachelor of Education (Drama major)  Licentiate in Drama Teaching, Trinity College  Diploma from LAMDA  Or any other officially accredited, 360-credit qualification in Drama  In addition to all of the above, a one-year post graduate certificate in teaching or diploma in training. Note the following is NOT an appropriate or sufficient qualification to teach Dramatic Arts:  The creative arts teacher  An actor/actress  A drama enthusiast  The English language teacher  The dance teacher 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  4 x wooden blocks/cubes/plastic crates/chairs or an alternative affordable equivalent  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 23 DBE/PAT 2022 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, African Myths or Storytelling, e.g. Have you seen Zandile 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 Hedda Gabler by Gina Hlope o Epic Theatre Caucasian Chalk Circle by Bertolt Brecht o Theatre of the Absurd Waiting for Godot by Samuel Beckett o Postmodern 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  The above-mentioned play texts are ONLY examples. It is not possible to mention all possibilities. Broaden the range of options and select the most appropriate play text for the dramatic movement or genre. 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 24 DBE/PAT 2022 NSC 6. STANDARDISATION/ASSESSMENT/DEBRIEFING/MODERATION TOOLS WRITTEN TASKS: GUIDELINES FOR NATIONAL STANDARDISATION ANNEXURE A: ASSIGNMENT ANNEXURE B: ESSAY ANNEXURE C: RESEARCH WRITTEN TASKS: ASSESSMENT TOOLS: RUBRICS ANNEXURE D: ASSIGNMENT ANNEXURE E: ESSAY ANNEXURE F: RESEARCH THEME/AUDITION PROGRAMME: ASSESSMENT TOOLS: RUBRICS ANNEXURE G: EXTRACT ANNEXURE H: MONOLOGUE ANNEXURE I: MOVEMENT ANNEXURE J: POETRY ANNEXURE K: PROSE TECHNICAL THEATRE PROGRAMME: ASSESSMENT TOOLS: RUBRICS ANNEXURE L: DESIGN ANNEXURE M: DIRECTING/THEATRE MAKING ANNEXURE N: FILM MAKING ANNEXURE O: STAGE MANAGEMENT DEBRIEF OF THE PATs PERFORMANCE SECTIONS ANNEXURE P: QUESTION STEMS ASSESSMENT/MARKING AND MODERATION: GOOD PRACTICE ANNEXURE Q: PRINCIPLES MODERATION TOOL ANNEXURE R: TEMPLATE FOR INTERNAL SCHOOL AND PROVINCIAL MODERATION Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 25 DBE/PAT 2022 NSC ANNEXURE A: GUIDELINES STANDARDISATION JOURNAL TEACHERS:  Use these guidelines to ensure national standardisation of the written section of this PAT.  Attach these guidelines to the assessment task plan of each respective lesson plan.  Use these guidelines to ensure the following is covered. 1 BE MINDFUL OF THE FOLLOWING WHEN LEARNERS ARE BRIEFED  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.  Base the brief and instructions on the relevant CAPS Broad Topic and Topics taught to the learner  Use clear and unambiguous instructions; suitable terminology, e.g. analyse/describe/compare/ evaluate/predict/own opinion and what is the quality and quantity of evidence the learner has to generate for that command verb  Clarify the: o Format o Purpose o Content o Sources available o Scope and limitations o Criteria against which the PAT will be assessed by providing the rubric criteria with a focus on the high end of quality  Demonstrate sensitivity and respect for gender, inclusivity, culture, class, race and religion  Provide an exact, non-negotiable date for the deadline of submission of the PAT 2 FORMAT May be any ONE of the following options:  Journal entry  Design notebook entry  Director notebook entry  Film notebook entry  Stage manager prompt book entry  Collage  Montage  Visual imagery (e.g. photos, videos, DVDs, audio recordings)  Worksheet designed by teacher  Reflection on excursions, field trips, community spaces/sites  Film analysis, theatre reviews  Teach backs  Above options are ONLY examples. Be creative and explore other forms and ways of presenting 3 PURPOSE AND CONTENT: The assignment should:  Integrate and conceptualise the classroom teaching of the CAPS Broad Topic(s) and Topic(s)  Reflect, in a meaningful manner, on classroom teaching and provide proof of the continuous development of the learner  Demonstrate the learners' level of cognitive understanding and application of concepts (content, knowledge, skills and attitudes)  Integrate practical experience and theoretical support material (exercises, activities, rehearsals, classroom notes and other source material)  Use Dramatic Arts terminology (the language of drama) in all WRITTEN presentations  Adhere to, and explain, specialised language in the case of Indigenous Knowledge Systems  Prepare for the Performance component of the PAT 4 SOURCES  Base the content of the assignment on the CAPS Broad Topic(s) and their respective Topic(s)  Use, critically reflect on, and creatively apply the Textbook, Play Texts, classroom note and practical work Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 26 DBE/PAT 2022 NSC ANNEXURE B: GUIDELINES STANDARDISATION ESSAY TEACHERS:  Use these guidelines to ensure national standardisation of the WRITTEN sections of this PAT.  Attach these guidelines to the assessment section of each respective lesson plan.  Use these guidelines to ensure the following is covered: 1 BE MINDFUL OF THE FOLLOWING WHEN LEARNERS ARE BRIEFED  Provide and facilitate 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 to the learners. Base the brief and instructions on the relevant CAPS Broad Topic and Topics taught to the learner  Use clear and unambiguous instructions and 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 The types of essays, e.g. descriptive, narrative, argumentative, expository. 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: ± 3 pages; approximately ± 700 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 learners' level of cognitive understanding and application of concepts (content, knowledge, skills and attitudes)  Integrate practical experience and theoretical support material (exercises, activities, rehearsals classroom notes and other source material)  Use Dramatic Arts terminology (the language of drama) in all written presentations  Adhere to, and explain, specialised language in the case of indigenous knowledge systems  Prepare for the Performance component of the PAT 4 SOURCES  Base the content of the 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 27 DBE/PAT 2022 NSC ANNEXURE C: GUIDELINES STANDARDISATION RESEARCH TEACHERS:  Use these guidelines to ensure national standardisation of the PATs.  Attach these guidelines to the assessment section of each respective lesson plan.  Use these guidelines to ensure the following is covered: 1 BE MINDFUL OF THE FOLLOWING WHEN LEARNERS ARE BRIEFED  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 provide proof of the continuous development of the learner  Demonstrate the learners' level of cognitive understanding and application of concepts (content, knowledge, skills and attitudes). 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 note 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 28 DBE/PAT 2022 NSC ANNEXURE D: JOURNAL ASSESSMENT TOOL RUBRIC MARKS 0–7 8–13 14–19 20–22 23–25 DESCRIPTORS NOT MODERATELY ADEQUATE MERITORIOUS OUTSTANDING ACHIEVED 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, exercises techniques, exercises techniques, exercises exercises and exercises and and and dramatic/theatrical and dramatic/ Record dramatic/theatrical dramatic/theatrical dramatic/theatrical elements is detailed, theatrical elements is elements lacks elements is limited elements is accurate comprehensive with outstanding and detail and accuracy without insight insight displays a high degree of insight Reflection lacks Reflection Reflection Reflection Reflection critical thinking. demonstrates demonstrates a demonstrates high demonstrates an Superficial limited critical sufficient degree of degree of critical excellent degree of connections are thinking in applying, critical thinking in thinking in applying, critical thinking in made with skills, analysing, and/or applying, analysing, analysing, and/or applying, analysing, knowledge, content evaluating made and/or evaluating evaluating made with and evaluating made and concepts with skills, made with skills, skills, knowledge, with skills, knowledge, Content knowledge, content knowledge, content content and concepts. content and concepts reflection and concepts and concepts. Connections made Insightful and relevant Minimal Connections made through explanations, connections made connections made through explanations, inferences, and/or through contextual through inferences, and/or examples. explanations, explanations, examples. inferences, and inferences, and/or examples. examples. Conveys Conveys limited Conveys evidence of Conveys strong Conveys strong and inadequate evidence of reflection on own evidence of reflection insightful evidence of evidence of reflection on own work. Demonstrates on own work. reflection on own reflection on own work. Demonstrates satisfactory personal Demonstrates work. Demonstrates work. Personal less than adequate growth and satisfactory personal significant personal growth and personal growth awareness through growth and awareness growth and awareness awareness are not and awareness some inferences through some of deeper meaning evident and/or through few or made, examples, inferences made through inferences demonstrates a simplistic inferences insights, and examples, insights, made, examples, well Personal neutral experience made, examples, challenges. Some and challenges. Some developed insights, growth with negligible insights, and/or thought of the future thought of the future and substantial depth personal impact. challenges that are implications of implications of current in perceptions and Lacks enough not well developed. current experience. experience. challenges. inferences, Minimal thought of Synthesizes current examples, personal the future experience into future insights and implications of implications. challenges, and/or current experience. future implications are overlooked. Expresses few Expresses some Expresses most Expresses ideas, Expresses many ideas, with limited ideas, supported by ideas, supported by supported by relevant ideas, supported support with relevant evidence or relevant evidence or evidence or rationale effectively by relevant Thinking, relevant evidence or rationales. rationale Critical, creative and evidence or rationales. inquiry and rationales. Critical, Critical, creative Critical, creative and problem-solving Critical, creative and exploration creative and and problem-solving problem-solving thinking is problem-solving problem-solving thinking is adequate thinking is comprehensive and thinking is highly thinking is limited comprehensive and offers many insights developed and offers and simplistic offers many insights creative insights Content, concepts, Content, concepts, Content, concepts, Content, concepts, Content, concepts, skills and skills and skills and knowledge skills and knowledge skills and knowledge knowledge knowledge (theatrical and (theatrical and (theatrical and (theatrical and (theatrical and dramatic), in relation dramatic), in relation to dramatic), in relation dramatic), in relation dramatic), in to planning for planning for to planning for Creative to planning for relation to planning continuous personal continuous personal continuous personal application continuous personal for continuous development, is development, is development, , a development, is personal comprehensive with comprehensive with a highly insightful limited and development, is insight high level of insight understanding of the simplistic adequate with some relationship between insight these components Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 29 DBE/PAT 2022 NSC ANNEXURE E: ESSAY ASSESSMENT TOOL RUBRIC CATEGORY MARK % LEVEL DESCRIPTORS Thinking process: Appraises factual, conceptual, procedural and meta-cognitive Outstanding knowledge in relation to the question.  Integrates the demands of the question in a new, creative and original manner. Metacognitive 27–30  Evaluates examples, from the play text, the theatre movement or other additional Knowledge 90–100 sources within an expansive range of insightfully chosen content. A+ Create  Designs and creates an argument in a new and unique pattern that shows evidence of reflexive, creative, critical and analytical thinking. Cognitive level: Demonstrates an ability to create, reorganise, discover, renew, change Thinking process: Appraises factual, conceptual, procedural and meta-cognitive knowledge in relation to the question. Excellent  Integrates the demands of the question and source in a differentiated, interpretative 24–26 and interesting manner. Metacognitive 80–89  Assesses examples from the play text, the theatre movement or other additional Knowledge A sources within a significant range of appropriately chosen content. Evaluate  Compiles an argument in an interesting pattern that shows evidence of reflective, critical and analytical thinking. Cognitive level: Demonstrates an ability to judge, critique, recommend, evaluate Thinking process: Analyses, distinguishes and explores factual, conceptual and Meritorious procedural knowledge in relation to the question.  Integrates the demands of the question and source in a differentiated and 21–23 Procedural interpretative manner. 70–79 Knowledge  Analyses examples from the play text, the theatre movement or other additional B sources within a broad range of appropriately chosen content. Analyse  Compiles an argument that shows evidence of critical and analytical thinking. Cognitive level: Demonstrates an ability to infer, deconstruct concepts, attribute, discover. Thinking process: Analyses and distinguishes factual, conceptual and procedural Substantial knowledge in relation to the question. 18–20  Integrates the demands of the question in an organised manner. Procedural 60–69  Integrates examples from the play text, the theatre movement or other additional Knowledge C sources within a wide range of appropriately chosen content. Apply  Provides an argument that shows evidence of critical and analytical thinking. Cognitive level: Demonstrates an ability to apply, construct, integrate. Adequate Thinking process: Explains, interprets and rephrases factual and conceptual knowledge in relation to the question. 15–17 Conceptual  Integrates the demands of the question in a conventional manner. 50–59 Knowledge  Interprets examples from the play text within a general range of predictable content D  Provides a limited argument that points at an understanding of the topic Understand Cognitive level: Demonstrates an ability to interpret, exemplify, classify, summarise, explain. Thinking process: Explains and interprets factual and conceptual knowledge to the Moderate question. 12–14  Integrates the demands of the question in a basic manner, if at all. Conceptual 40–49  Explains examples from the play text, the theatre movement or other additional Knowledge E sources within a limited range of content. Understand  Writes an explanation within predictable thinking processes. Cognitive level: Demonstrates a limited ability to exemplify, summarise, explain. Elementary Thinking process: Defines and applies knowledge from memory.  Little or no integration of the demands of the question 10–11 Factual  Selects very few or no examples from the play text, the theatre movement or other 30–39 Knowledge additional sources. F  Writes an explanation within predictable thinking processes. Remember Cognitive level: Demonstrates an elementary ability to identify, list, define. Not Achieved Thinking process: Remembers and applies very little knowledge from memory.  Little or no attempt to answer the question. 1–9 Factual  Very limited ability to express ideas or information in words 20–29 Knowledge  Shows evidence of disjointed or limited thinking processes G Cognitive level: Demonstrates little or no ability to identify, list. Remember Not Achieved Thinking process: Demonstrates no understanding of the question, unable answer the question. Factual 0 Presents very few facts, unrelated to the question. Knowledge H  Unable to identify, list, relate, define.  Unable to express thoughts in words Remember Cognitive level: Presents very little or no information Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 30 DBE/PAT 2022 NSC ANNEXURE F: RESEARCH ASSESSMENT TOOL RUBRIC CATEGORY MARK % LEVEL DESCRIPTORS Well organised, comprehensive and coherent, polished structure. Supported by an exceptionally high level of competence. Able to process information into original interpretation and thoughtful selection of facts. Outstanding 23–25 Uses a variety of original and/or relevant dramatic references and/or film achievement clips. Insightful, fluent, observation and knowledge powerfully expressed. If models or mixed media are used, they are well executed and compliment the research. Well organised, detailed and coherent, polished structure. Supported by a high level of competence to process information with an original Meritorious interpretation and careful selection of facts. Using original or unusual 20–22 achievement selection of relevant dramatic references and/or film clips. Shows insight, observation and knowledge well expressed. If models or mixed media are used, they complement to the research. Organised, detailed, some level of competence, some slight flaws evident in structure. Interesting reading, clear statements, convincing, simple Substantial direct language. Supported by a selection of relevant dramatic references 17–19 achievement and/or film clips. Shows good grasp of the theme/task, some insightful statements. Obvious care and effort taken with presentation. If models or mixed media are used, they link to the research. Structure not always logical or organised, reasonable effort with presentation. Displays a basic understanding but tends towards mechanistic and stereotyped responses at times. Adequate selection of Adequate 13–16 relevant dramatic references and/or film. Adequate reading but appears achievement memorised. Not always a high level of insight, sometimes unimaginative but has some ability to justify discussion. If models or mixed media are used, they are not always supported by the research. Not always organised or logically constructed. Not always enough Moderate information, some flashes of insight. Limited selection of information. Poor 10–12 achievement language skills. Argument lacks supporting discussion. Any models or mixed media used are not well executed or particularly relevant. Rambling – no structure, limited vocabulary, little attempt to present information in an acceptable manner. Very little information, jumbled, not Elementary 6–9 easy to follow, often irrelevant. Poor language skills. Argument lacks achievement supporting discussion. Unlikely to have a supporting model, any mixed media will be poorly executed. Incoherent, very little work, limited skills. Irrelevant information provided, Not achieved 0–5 lacking any supporting discussion. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 31 DBE/PAT 2022 NSC ANNEXURE G: EXTRACT/SCENE (FROM A PUBLISHED PLAY OR REPUTABLE WEBSITE – ALSO PUBLISHED) ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Preparation The learner knows the words of the The learner knows the words, but The learner does not know the scene and shows evidence of there is some evidence of words of the scene and does not thought, planning and rehearsal. uncertainty or lack of rehearsal. show evidence of thought, planning and rehearsal. Under- The learner demonstrates an There is evidence of some The learner demonstrates little or standing of understanding of the scene as it understanding of the scene, but no understanding of the scene as it scene stands within the context of the certain aspects have been stands within the context of the play as a whole. The learner overlooked, or this is not consistent play as a whole. The learner does understands the basic throughout. There may be a not understand the basic dilemma/conflict of the scene and possible misinterpretation on the dilemma/conflict of the scene, the the characters and their basis of the given circumstances. characters and their motivations. motivations. There is complete misinterpretation of the given circumstances. Vocal The learner demonstrates an The learner is partially successful The learner is unsuccessful in characterisa understanding of the elements of in creating and sustaining vocal creating and sustaining vocal tion 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. The learner is able to may be inappropriate for the inappropriate for the particular interpret a text, make appropriate particular character or context. character or context. 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 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. The learner in speaking distinctly and audibly. speaking distinctly and audibly. is able to use the appropriate There are momentary lapses, or Volume can only be attained with volume for a space, without vocal there are moments of strain. vocal strain. 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 the 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- The learner 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 (blocking, physical body, gestures) 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 the terms of connecting with the terms of connecting with the character appropriately and emotions of the character emotions of the character effectively in such a way as to appropriately and effectively; the appropriately and effectively; the convince the audience of the truth learner may not be totally learner is not at all convincing, or of these emotions. convincing at all moments or may their emotional choices are entirely react inappropriately in some inappropriate. moments. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 32 DBE/PAT 2022 NSC ANNEXURE G (continued) EXTRACT/SCENE (FROM A PUBLISHED PLAY OR REPUTABLE WEBSITE – ALSO PUBLISHED) ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Playing of The learner demonstrates an The learner is partially successful The learner is unsuccessful in subtext understanding of subtext and in terms of playing subtext and terms of playing subtext and intention, in order to make a intentions and making the intentions. Lines and actions seem character's lines and actions character's lines and actions unmotivated, there is little evidence understandable to an audience. understandable to an audience. of thinking through the subtext, The character's inner life is The character's inner life is not fully lines are recited by rote and the explored and sustained 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 relationship understanding of character's demonstrating the character's character's status in relation to the status in relation to the other status in relation to the other other characters in the scene; the characters in the scene and the characters in the scene; the relationship between the learner 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 fulfil 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 33 DBE/PAT 2022 NSC ANNEXURE H: MONOLOGUE ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Preparation The learner knows the words of the The learner knows the words, The learner does not know the monologue and shows evidence of but there is some evidence of words of the monologue and does thought, planning and rehearsal. uncertainty or lack of not show evidence of thought, rehearsal. planning and rehearsal. Understanding of The learner demonstrates an There is evidence of some The learner demonstrates little or monologue exceptional understanding of the understanding of the no understanding of the monologue as it stands within the monologue, but certain monologue as it stands within the context of the play as a whole. The aspects have been context of the play as a whole. learner understands the basic overlooked, or this is not The learner does not understand dilemma/conflict of the monologue, consistent throughout. There the basic dilemma/conflict of the the character and motivation. may be a possible monologue, the character and misinterpretation based on the motivation. There is complete given circumstances. misinterpretation based on the given circumstances. Vocal character- The learner demonstrates a clear The learner is partially The learner is unsuccessful in isation understanding of how all the successful in creating and creating and sustaining a vocal elements of voice work come sustaining a vocal characterisation, or there is vocal together to communicate the characterisation, or there may strain throughout the personality, background, class, age, be indications of vocal strain. performance. The vocal education and status of the speaker. Certain aspects of the characterisation is inappropriate The learner is able to interpret a text, characterisation may be for the particular character or make appropriate choices for inappropriate for the particular context. characterisation and use these character or context. 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 The learner is unsuccessful in audibly. The learner is able to use successful in speaking speaking distinctly and audibly. the appropriate volume for a space, distinctly and audibly. There Volume can only be attained with without vocal strain. are momentary lapses, or vocal strain. there are moments of strain. Physical The learner demonstrates an ability The learner is partially The learner is unsuccessful in characterisation to adapt the body in terms of successful in creating and creating and sustaining a physical posture, energy, weight, size and sustaining a physical characterisation, or there is quality of gestures, physical rhythms characterisation, or there may excessive unnecessary tension and habits in order to successfully be indications of unnecessary displayed throughout the and appropriately convey the tension. Certain aspects of performance. The physical physicality of the character. the characterisation may be characterisation is inappropriate inappropriate for the particular for the character character or context. Stage sense — The learner demonstrates an ability The learner is partially The learner is unsuccessful in use of space to use the stage space appropriately successful in using the stage using the stage space and interestingly, in such a way that space appropriately and appropriately and interestingly. the performance communicates interestingly. This may be due The learner is consistently self- clearly to the audience. All to self-consciousness and conscious is uncertain and moves movement (blocking, use of body, uncertainty in moments or often without motivation. gestures etc.) is motivated. (NOTE: unmotivated movements at In a monologue, stillness may be times. appropriate; however, then the focus should be on how the size of the playing space needs to be filled for the audience to be affected by the performance.) Emotional The learner demonstrates an ability The learner is partially The learner is unsuccessful in connection to connect with the emotions of the successful in terms of terms of connecting with the character appropriately and connecting with the emotions emotions of the character effectively in such a way as to of the character appropriately appropriately and effectively; the convince the audience of the truth of and effectively; The learner learner is unconvincing, or the these emotions. may not be totally convincing emotional choices are entirely at all moments or may react inappropriate. inappropriately at certain moments. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 34 DBE/PAT 2022 NSC (ANNEXURE H (continued): MONOLOGUE ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Playing of The learner demonstrates an The learner is partially The learner is unsuccessful in subtext understanding of subtext and intention, in successful in terms of playing playing subtext and intentions. order to convey the character subtext and intentions and Lines and actions seem meaningfully to an audience. The conveying the character unmotivated, there is little character's inner life is explored and meaningfully to an audience. evidence of thinking through the sustained throughout the performance. The character's inner life is not subtext, lines are recited by rote fully sustained throughout the and the character's inner life is performance. not sustained throughout the performance. Interpretation The learner interprets the character The learner is partially The learner is unsuccessful in of character intelligently, making choices which are successful in interpreting the interpreting the character, the effective and appropriate, based on the character; certain choices are learner makes completely knowledge of the play from which the not as effective or appropriate inappropriate choices, which are monologue comes. as is desirable, or there is not effective and there is evidence evidence of a lack of of misunderstanding of the given understanding of the given circumstances of the play. circumstances of the play. Relationship The learner demonstrates the ability to The learner is partially The learner is unsuccessful in to listener create the invisible listener through successful in creating the creating the invisible listener visualisation or, if appropriate, through invisible listener through through visualisation. There is using the audience as this listener. The visualisation or through using little understanding of the learner demonstrates an understanding the audience as the listener. character's status in relation to of the character's status in relation to the There is some understanding the listener or what their possible listener and possible responses to what of the character's status in responses may be. is being said throughout the monologue. relation to the listener, but little sense of what responses there are. Believability The learner is believable at all times The learner is believable in The learner is seldom believable within the context of the monologue. some moments within the within the context of the context of the monologue. monologue. Structure of The learner demonstrates an The learner does not have a There is little evidence of monologue understanding of how the playwright has sufficiently clear beginning, structure, no real sense of a structured the monologue. The middle and end. The climax is beginning, middle and end, and monologue has a clear beginning, middle not completely realised. the climax is not realised. and end. Rhythms/ The learner demonstrates an The learner does not There is little or no variety within Shape of understanding of the ebb and flow of the consistently create sufficient the monologue, pace is too monologue monologue, the use of pace to highlight variety within the monologue, regular or monotonous and there or build to a climax, the shifting rhythms pace is at times too regular or is no evidence of different beats of different beats within the monologue. monotonous and there is little within the monologue. evidence of different beats within the monologue. Creation of The learner demonstrates the ability to There is some attempt to There is little or no attempt to appropriate interpret genre and style appropriately interpret genre and style interpret genre and style genre/style and then fulfil the demands of the appropriately, but the appropriately and the demands of genre/style in terms of such aspects as demands of the genre/style the genre/style are not realised relationship to the audience, believability are not fully realised throughout the monologue. within style, timing, appropriate physical throughout the monologue. action etc. Impact of The monologue is memorable, effective The monologue has some The monologue has few or no monologue and engaging. memorable, effective, memorable, effective, engaging engaging moments, but these moments. are inconsistent. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 35 DBE/PAT 2022 NSC ANNEXURE I: MOVEMENT ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 ASSESSMENT ACHIEVED WITH MERIT ACHIEVED PARTIALLY CRITERIA ACHIEVED Practical/ The learner uses a wide range of The learner is able to use a good The learner is able to use a Performance Skills movements to create sequences range of movements to create limited range of movements 1. The ability to and is able to understand and use sequences and shows an to create sequences and understand and use a various styles and processes. The understanding of styles and shows little understanding of range of movements, learner shows a good processes of movement forms. the use of space, time and choreographic styles and understanding of the use of space, movement dynamics. 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 some movement ideas clearly confidence in movement ideas are understood by those movement ideas are understood. and now needs to develop performance so that watching. more confidence when ideas are understood. showing work to others. 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 some stimuli and realisation of ideas) confidence to create complex accompaniments with confidence accompaniments to create 1. The ability to use a sequences and show excellent use to create simple sequences and simple sequences. The variety of stimuli, of various movement styles. is developing a range of learner is able to use simple accompaniments and movement styles. movement styles to complete movement styles to an item. create sequences. 2. The ability to extend The learner is able to develop a With increasing confidence, the With help and and develop an idea from simple idea into a complex learner is able to develop an encouragement, the learner the original stimulus and sequence making clear decision idea, trying out and choosing is able to develop a simple to try out ideas and select about the work. The learner can movements in order to complete idea, trying out and choosing and reject them with explain reasons for selecting certain the item. movements that the learner reason and confidence in movements with confidence and feels fit the item. order to complete a task. use movement vocabulary to explain what the learner means. Critical Awareness The learner is able to make detailed The learner is able to make When prompted the learner 1. The ability to make and analytical comments about comments that help to improve can make comments on analytical comments movement work that lead to own and other people's work. movement work his/she has which helps improve the improvements in structure and done to help improve the structure and performance. work. performance of own and others' work. 2. The ability to compare The learner can see and make The learner is able to make The learner is able to see and contrast the work of subtle connections and connections between different obvious connections between different movement comparisons between a variety of movement works and styles different movement works styles. movement styles and is able to with help and encouragement describe clearly what the learner from the teacher. means. 3. The ability to The learner shows a clear The learner is able to talk about With prompting the learner understand the difference understanding of movement forms movement using appropriate can talk about why the between objective and structure through the comments words and is beginning to be learner likes a movement judgments and personal and vocabulary the learner uses. aware of own movement item using words to describe preference when The learner is aware of own preferences. the movement content (e.g. creating, using and preferences in movement and is line, shape, rhythm, watching movement able to withhold them or use them dynamics, etc.) forms. appropriately. Personal and Social The learner works co-operatively as The learner usually works co- The learner can sometimes Skills a member of a group and operatively with other people work co-operatively with other 1. The ability to work co- contributes and shares many ideas contributing some ideas to the people sharing some ideas in operatively as a member with the group. work of the group. order to help complete a of a group, sharing ideas group task. 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 work and can develop simple complete some items of work organising work successfully on his/her own ideas on his/her own. on their 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 The learner is sometimes focus and effort through the task through all the stages of keep working on an idea from able to keep working on an all stages and kinds of development and works hard even beginning to end. idea from beginning to end work. when the task is challenging. when helped and encouraged. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 36 DBE/PAT 2022 NSC ANNEXURE J: POETRY ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Preparation The learner knows the words of The learner knows the words, but The learner does not know the the poem and shows evidence of there is some evidence of uncertainty words of the poem and does not thought, planning and rehearsal. or lack of rehearsal. show evidence of thought, planning and rehearsal. Under- The learner demonstrates an The learner demonstrates some The learner does not demonstrate standing understanding of the poem and the understanding of the poem and the an understanding of the poem and poem interpretation is appropriate and interpretation should be appropriate the interpretation is not appropriate justified. and justified. or justified. Expression of The learner understands how to The learner is only partially successful The learner is not successful in meaning convey meaning through the use in conveying the meaning of the poem. conveying the meaning of the poem. of such elements as phrasing, The meaning is not always fully clear The meaning is not unclear or pause, emphasis, intonation and or expressive. inexpressively conveyed. tone. The learner 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, well trained voice which balanced or is distracting to listen to, or is distracting to listen to, or there ness is unique, appropriate to them and or there is some evidence of vocal is evidence of excessive vocal shows no signs of strain. The strain. The learner is not completely strain. The learner is unsuccessful learner explores and utilises the successful in exploring and utilising in exploring and utilising the expressive, interpretative and the expressive, interpretative and expressive, interpretative and musical aspects of speech sounds musical aspects of speech sounds in musical aspects of speech sounds in order to express subtleties of order to express subtleties of meaning in order to express subtleties of meaning and convey and convey mood/atmosphere. meaning and 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. The learner speaking distinctly and audibly. There speaking distinctly and audibly. is able to use the appropriate are momentary lapses, or there are Volume can only be attained with volume for a space, without vocal moments of strain. vocal strain. 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 and to their interpretation of it. appropriate to the poem OR there is a the poem OR there is little or no The learner demonstrates control lack of control over physicality in control over physicality OR there is over the body in order to release 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; the audience of the truth of these not be totally convincing at all learner is not at all convincing, or emotions. moments, or they may react emotional choices are entirely inappropriately in certain moments. inappropriate. Creation of The learner uses vocal and The creation of mood is inconsistent, There is little or no evidence of appropriate physical expressiveness in order inappropriate or not fully sustained understanding of the mood, or the mood to create a mood/atmosphere through the poem. ability to create it effectively using appropriate to 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 poem memorable, effective and effective, engaging moments, but memorable, effective, engaging engaging. these are inconsistent. moments. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 37 DBE/PAT 2022 NSC ANNEXURE K: PROSE ASSESSMENT TOOL RUBRIC MARKS 16–25 8–15 0–7 CRITERIA ACHIEVED WITH MERIT ACHIEVED PARTIALLY ACHIEVED Preparation The learner knows the words of the The learner knows the words, but The learner does not know the piece of prose and shows evidence there is some evidence of words of the piece of prose and of thought, planning and rehearsal. uncertainty or lack of rehearsal. does not show evidence of thought, planning and rehearsal. Understanding of The learner demonstrates an The learner demonstrates some The learner does not demonstrate piece of prose understanding of the piece of prose understanding of the piece of an understanding of the piece of and interpretation is appropriate and prose and interpretation should be prose and interpretation is not justified. appropriate and justified. 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 such successful in conveying the conveying the meaning of the piece elements as phrasing, pause, meaning of the piece of prose. of prose. The meaning is unclear emphasis, intonation and tone. The The meaning is not always fully and lacks expression. learner is able to interpret a text clear or expressive. using these elements and communicates the meaning of the text clearly and expressively. Vocal The learner uses a balanced, well The learner's voice is not The learner's voice is not balanced expressiveness trained voice, which is unique, consistently balanced or pleasant or is distracting to listen to, or there appropriate to him/her and shows no to listen to, or there is some is evidence of excessive vocal signs of strain. The learner explores evidence of vocal strain. The strain. The learner is not at all and utilises the expressive, learner is not completely successful in exploring and utilising interpretative and musical aspects of successful in exploring and the expressive, interpretative and speech sounds in order to express utilising the expressive, musical aspects of speech sounds in subtleties of meaning and convey interpretative and musical aspects order to express subtleties of mood/atmosphere. of speech sounds in order to meaning and convey express subtleties of meaning and mood/atmosphere. convey mood/atmosphere. Vocal clarity The learner is able to speak The learner is partially successful The learner is unsuccessful in distinctly and audibly. The learner is in speaking distinctly and audibly. speaking distinctly and audibly. able to use the appropriate volume There are momentary lapses, or Volume can only be attained with for a 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 the prose and to the learner always appropriate to the piece of piece of prose OR there is little or no interpretation of it. The learner prose OR there is a lack of control control over their physicality OR demonstrates control over the over the learner physicality in there is evidence of excessive learner body in order to release moments OR there is evidence of unnecessary tension. There is little unnecessary tension and establish unnecessary tension at times. or no evidence of creativity and optimal alignment and balance. There is only some evidence of expressiveness in the use of body. The body is used creatively and creativity and expressiveness in expressively to assist in the the use of body. dramatisation of the piece of prose. Dramatisation as The learner uses original, effective The learner is partially effective or The learner is unsuccessful in terms performance theatrical means to dramatize the original in terms of using theatrical of using theatrical means to piece piece of prose so that it works as a means to dramatize the piece of dramatize 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 The learner is unsuccessful in using appropriate their story and the narrative in 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 The learner uses appropriate narrative techniques, which do not work with the style of the learner techniques in the learner work with the style of their story. story. performance, including third-person narration, character creation, use of song or chant. 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 38 DBE/PAT 2022 NSC ANNEXURE L: DESIGN ASSESSMENT TOOL RUBRIC SET, COSTUME, MUSIC, SOUND EFFECTS, SET PIECES, SPECIAL EFFECTS, PROPERTIES, LIGHTING, MAKE-UP LEVEL 1 2 3 4 5 DESCRIPTOR 0–7 8–13 14–19 20–22 23–25 Role of the The candidate fails The candidate The candidate The candidate The candidate designer to demonstrate demonstrates limited demonstrates demonstrates complete demonstrates outstanding understanding that understanding that adequate understanding that the and insightful the role of the the role of the understanding that role of the designer is understanding that the role designer is to designer is to the role of the to research, of the designer is to research, research, designer is to conceptualise and research, conceptualise conceptualise and conceptualise and research, actualise the world of and actualise the world of actualise the world actualise the world of conceptualise and the play through design the play through design of the play through the play through actualise the world elements e.g. set, elements e.g. set, costume, design elements design elements e.g. of the play through costume, music, sound music, sound effects, set e.g. set, costume, set, costume, music, design elements e.g. effects, set pieces, pieces, special effects, music, sound sound effects, set set, costume, music, special effects, properties, lighting, make- effects, set pieces, pieces, special sound effects, set properties, lighting, up. special effects, effects, properties, pieces, special make-up. properties, lighting, lighting, make-up. effects, properties, make-up. lighting, make-up. Given The candidate fails The candidate The candidate The candidate The candidate circum- to demonstrate demonstrates limited demonstrates demonstrates complete demonstrates outstanding, stances understanding of understanding of adequate and highly effective insightful and highly how to interpret and how to interpret and understanding of understanding of how effective understanding of realise in her/his realise in her/his how to interpret and to interpret and realise how to interpret and realise design the given design the given realise in her/his in her/his design the in her/his design the given circumstances, e.g. circumstances, e.g. design the given given circumstances, circumstances, e.g. plot, the plot, the facts, the plot, the facts, the circumstances, e.g. e.g. plot, the facts, the facts, the incidents, the incidents, the incidents, the period, plot, the facts, the incidents, the period, period, the time and place period, the time and the time and place of incidents, the period, the time and place of of the action and the way of place of the action the action and the the time and place of the action and the way life in the play. and the way of life way of life in the the action and the of life in the play. in the play. play. way of life in the play. Back- The candidate fails The candidate The candidate The candidate The candidate ground and to demonstrate demonstrates limited demonstrates demonstrates complete demonstrates outstanding, context understanding of understanding of adequate and highly effective insightful and highly how to interpret and how to interpret and understanding of understanding of how effective understanding of realise in her/his realise in her/his how to interpret and to interpret and realise how to interpret and realise design the design the realise in her/his in her/his design the in her/his design the background and background and design the background and background and context of context of the play: context of the play: background and context of the play: the play: social, political, social, political, social, political, context of the play: social, political, religious, economic, artistic, religious, economic, religious, economic, social, political, religious, economic, historical, theatrical. artistic, historical, artistic, historical, religious, economic, artistic, historical, theatrical. theatrical. artistic, historical, theatrical. theatrical. Theatre The candidate fails The candidate The candidate The candidate The candidate spaces to demonstrate demonstrates limited demonstrates demonstrates complete demonstrates outstanding, understanding of understanding of adequate and highly effective insightful and highly how to create how to create understanding of understanding of how effective understanding of appropriate designs appropriate designs how to create to create appropriate how to create appropriate for the different for the different appropriate designs designs for the different designs for the different stage spaces e.g. stage spaces e.g. for the different stage spaces e.g. stage spaces e.g. proscenium, arena, proscenium, arena, stage spaces e.g. proscenium, arena, proscenium, arena, thrust, thrust, etc. thrust, etc. proscenium, arena, thrust, etc. etc. thrust, etc. Generating The candidate fails The candidate The candidate The candidate The candidate shows ideas for to explore ideas for demonstrates demonstrates demonstrates good evidence of excellent idea- design possible design moderate generation adequate generation generation of ideas for generation and conceptual- elements in any of ideas for possible of ideas for possible possible design brainstorming, with a range isation detail or does so in design elements in design elements, elements, with a good of visual and sensory only one design at least two of the with some selection selection of visual and material collected for use in category. design categories. of visual and sensory material the final design concep- sensory material collected for use in the tualisation in at least three collected for use in final design, in at least of the design categories, the final design, in at three of the design demonstrating excellent least two of the categories, original thinking and design categories. demonstrating some creativity. original thinking. 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Downloaded from hlayiso.com Dramatic Arts 39 DBE/PAT 2022 NSC ANNEXURE L (continued): DESIGN ASSESSMENT TOOL RUBRIC SET, COSTUME, MUSIC, SOUND EFFECTS, SET PIECES, SPECIAL EFFECTS, PROPERTIES, LIGHTING, MAKE-UP LEVEL 1 2 3 4 5 DESCRIPTOR 0–7 8–13 14–19 20–22 23–25 Design The candidate fails The candidate The candidate The candidate The candidate elements; to demonstrate demonstrates demonstrates demonstrates good demonstrates visual and understanding, moderate adequate understanding, exceptional aural selection and understanding, understanding, selection and creation understanding, selection creation of selection and selection and creation of appropriate and and creation of appropriate and creation of of appropriate and relevant design appropriate and relevant relevant design appropriate and relevant design elements in at least design elements in at elements, or does relevant design elements in at least three of the design least three of the design so in only one elements in at least two of the design categories. categories. design category. two of the design categories. categories. Realisation The candidate fails The candidate The candidate realises The candidate realises The candidate realizes of design to realise ideas realises ideas ideas practically in the ideas practically in the ideas practically in the elements practically in the practically in the final design of the final design of the final design of the piece, final design of the final design of the piece, in at least two piece, in at least three in at least three design piece. This may be piece, in one or two design categories to design categories, to categories, to exceptional due to the use of of the design some extent. Some good effect. The effect. All design and inappropriate categories. Some design elements may majority of design technical elements work materials, design elements be stronger than elements work seamlessly, supporting insufficient care may be stronger others, with some seamlessly and there the final performance and taken, equipment than others, with technical glitches in are few, if any, technical its reception by the malfunctioning etc. noticeable technical realisation. glitches in realisation. audience. glitches in realisation. Creating a The candidate fails The candidate The candidate brings The candidate brings The candidate brings cohesive to bring the brings different different design different design design elements together theatrical different design design elements elements together in at elements together in at seamlessly and to whole elements together together in one or least two design least three design exceptional effect so that so that they work two design categories but there is categories, to good they together contribute cohesively and categories but there something missing or effect contributing to the to a cohesive theatrical together contribute are some elements at odds which prevent creation of a cohesive whole of considerable to a cohesive missing or at odds, the creation of a theatrical whole. impact and power. theatrical whole. which prevent the cohesive theatrical Design elements are creation of a whole. found across three or cohesive theatrical more design categories. whole. Director/ The candidate fails The candidate The candidate submits The candidate submits The candidate submits a Theatre to submit a submits a *D/TMN a *D/TMN with a *D/TMN with *D/TMN with outstanding, Maker *D/TMN with with limited and adequate evidence of complete and insightful insightful and highly Notebook evidence of incomplete evidence research, preliminary evidence of research, effective evidence of *(D/TMN) research, of research, and final technical preliminary and final research, preliminary and preliminary and preliminary and final plans and sketches technical plans and final technical plans and final technical technical plans and such as lighting, sketches such as sketches such as plans and sketches sketches such as sound, etc. with artistic lighting, sound, etc. with lighting, sound, etc. with such as lighting, lighting, sound, etc. motivations and artistic motivations and artistic motivations and sound, etc. with with artistic execution of the plan. execution of the plan. execution of the plan. artistic motivations motivations and and execution of execution of the the plan. plan. Interview The candidate fails The candidate The candidate's The candidate's The candidate's to arrive for the arrives for the responses to the responses to the responses to the interview or fails to interview; responses interview panel's interview panel's interview panel's provide satisfactory to the interview questions and questions and enquiries questions and enquiries answers posed by panel's questions enquiries are are insightful and well- are outstanding, the interview panel. are limited and often adequately and partly motivated. insightful and highly not satisfactorily satisfactorily effectively motivated. motivated. motivated. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 40 DBE/PAT 2022 NSC ANNEXURE M: DIRECTING/THEATRE MAKING ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARKS 0–7 8–13 14–19 20–22 23–25 DESCRIPTOR NOT ACHIEVED MODERATELY ADEQUATE MERITORIOUS OUTSTANDING ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT The role of the The candidate fails to The candidate partially The candidate The candidate has a The candidate has an director/ understand that the understands that the adequately understands complete understanding exceptional insightful theatre maker role of the director/ role of the *D/TM is to that the role of the *D/TM of the role of the *D/TM to understanding of the role *(D/TM) theatre maker is to be responsible for the is to be responsible for be responsible for the of the *D/TM to be be responsible for overall aural and visual the overall aural and overall aural and visual responsible for the overall the overall aural and world of the play. e.g. visual world of the play. world of the play. e.g. aural and visual world of visual world of the creating a vision, e.g. creating a vision, creating a vision, the play. e.g. creating a play. e.g. creating a applying appropriate applying appropriate applying appropriate vision, applying vision, applying styles and genres, styles and genres, styles and genres, appropriate styles and appropriate styles technical aspects, technical aspects, design technical aspects, design genres, technical and genres, technical design elements elements (lighting, sound, elements (lighting, sound, aspects, design elements aspects, design (lighting, sound, costume, make-up, set), costume, make-up, set), (lighting, sound, costume, elements (lighting, costume, make-up, the publicity (poster, the publicity (poster, make-up, set), the sound, costume, set), the publicity programme and programme and publicity (poster, make-up, set), the (poster, programme marketing) and finally marketing) and finally programme and publicity (poster, and marketing) and directing the actors and directing the actors and marketing) and finally programme and finally directing the their performances. their performances. directing the actors and marketing) and finally actors and their their performances. directing the actors performances. and their performances. Script The candidate fails to The candidate provides The candidate provides a The candidate provides a The candidate provides a analysis: provide an an incomplete and complete list of given complete list of given complete list of given Given appropriate list of limited list of given circumstances which is circumstances and circumstances and circum- given circumstances. circumstances which is wholly appropriate to the describes all of the describes all of the stances appropriate to the assigned play. flexible circumstances. flexible circumstances assigned play. with insight and creativity. Script The candidate fails to The candidate provides The candidate provides The candidate provides The candidate provides analysis: submit character incomplete character appropriate character insightful character insightful and creative Character objectives, thus objectives and objectives and obstacles objectives and obstacles character objectives and objectives demonstrating a lack obstacles demonstrating an demonstrating a mastery obstacles demonstrating 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 an analysis: submit a script a limited script analysis adequate script analysis insightful script analysis insightful and creative Character analysis and and description of the and description of the and description of the script analysis and 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 an analysis: submit an analysis of a limited analysis of the adequate analysis of the insightful analysis of the exceptionally creative Theme the themes in the themes in the play. themes in the play. themes in the play. and insightful analysis of analysis play. the themes in the play. Script The candidate fails to The candidate creates The candidate creates an The candidate creates a The candidate creates an analysis: create a director's a limited director's adequate but predictable unique director's vision in exceptionally unique and Director's/ vision in terms of the vision in terms of the and conventional terms of the aural and creative director's vision theatre aural and visual aural and visual world director's vision in terms visual world of the play. in terms of the aural and maker's world of the play. of the play. of the aural and visual visual world of the play. vision world of the play. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 41 DBE/PAT 2022 NSC ANNEXURE M (continued) DIRECTING/THEATRE MAKING ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARKS 0–7 8–13 14–19 20–22 23–25 DESCRIP- NOT MODERATELY ADEQUATE MERITORIOUS OUTSTANDING TOR ACHIEVED ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT Script The candidate fails to The candidate The candidate The candidate creatively The candidate, creatively, Analysis: translate the vision translates, but limitedly, adequately, but translates the vision for uniquely and with insight, Director/ for the play into the the vision for the play predictably, translates the the play into the concrete translates the vision for Theatre concrete aspects into the concrete vision for the play into the aspects required for a the play into the concrete maker's required for a play in aspects required for a concrete aspects play in the form of aspects required for a designs the form of sketches play in the form of required for a play in the sketches and/or notes, play in the form of and/or notes, e.g. sketches and/or notes, form of sketches and/or e.g. set, costume, sketches and/or notes, set, costume, e.g. set, costume, notes, e.g. set, costume, lighting, sound, staging, e.g. set, costume, lighting, sound, lighting, sound, lighting, sound, staging, movement, blocking, lighting, sound, staging, staging, movement, staging, movement, movement, blocking, acting style and genre movement, blocking, blocking, acting style blocking, acting style acting style and genre. acting style and genre in and 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. confidence and effective (Stanislavski) Directing: blocking, e.g. Directing: blocking, over, masking, etc. Directing: blocking, cross and clear communication terminology cross over, masking, cross over, masking, Acting: magic if, over, masking, etc. skills, e.g. Directing: etc. etc. concentration, given Acting: magic if, blocking, cross over, Acting: magic if, Acting: magic if, circumstances, units and concentration, given masking, etc. concentration, given concentration, given objectives, emotion circumstances, units and Acting: magic if, circumstances, units circumstances, units memory, tempo-rhythm, objectives, emotion concentration, given and objectives, and objectives, relaxation. memory, tempo-rhythm, circumstances, units and emotion memory, emotion memory, relaxation. objectives, emotion tempo-rhythm, tempo-rhythm, memory, tempo-rhythm, relaxation. relaxation. relaxation. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 42 DBE/PAT 2022 NSC ANNEXURE M (continued) DIRECTING/THEATRE MAKING ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARKS 0–7 8–13 14–19 20–22 23–25 DESCRIP- NOT MODERATELY ADEQUATE MERITORIOUS OUTSTANDING TOR ACHIEVED ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT Rehearsal The candidate fails to The candidate The candidate The candidate The candidate process: understand the adequately understands the understands the understands the Performance differences, uses and understands the differences, uses and differences, uses and differences, uses and space conventions of differences, uses and conventions of various conventions of variousconventions of various various performance conventions of various performance spaces and performance spaces andperformance spaces and spaces and is not performance spaces is able to select an is able to select an is able to select a able to select an and is able to select an appropriate performance appropriate and creative creative and dynamic appropriate adequate performance space for the selected performance space for performance space for performance space space for the selected play and has utilised it in the selected play and has the selected play and has for the selected play. play. a manner appropriate to utilised it in a creative utilised it in an insightful, the selected play. manner for the selected creative and unique play. manner for the selected play. Rehearsal The candidate fails to The candidate The candidate effectively The candidate effectively, The candidate creatively process: implement adequately implements and uniquely implements creatively and uniquely and dynamically, with Staging appropriate and appropriate and appropriate and effective implements appropriate unique insight, conventions effective staging effective staging staging conventions such and effective staging implements appropriate conventions such as conventions such as as up-stage, centre conventions such as up- and effective staging upstage, centre upstage, centre stage, stage, down stage, stage stage, centre stage, down conventions such as up- stage, downstage, down stage, stage left, left, stage right, prompt stage, stage left, stage stage, centre stage, stage left, stage right, stage right, prompt and and opposite prompt. right, prompt and down stage, stage left, prompt and opposite opposite prompt. opposite prompt. stage right, prompt and prompt. opposite prompt. Interview The candidate fails to The candidate arrives The candidate submits a The candidate submits a The candidate submits a arrive for the for the interview but complete and adequate complete DTHN complete DTHN interview or fails to submits an incomplete DTHN or fails to containing creative containing creative and submit a or limited DTHN or fails adequately provide evidence and provides unique evidence and director/theatre- to provide satisfactory satisfactory answers thoughtful and motivated provides thoughtful, maker notebook answers posed by the posed by the examination responses to the answers insightful and motivated (DTHN) or fails to examination panel. panel. posed by the examination responses to the answers provide satisfactory panel. posed by the examination answers posed by panel. the examination panel. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 43 DBE/PAT 2022 NSC ANNEXURE N: FILM MAKING ASSESSMENT TOOL RUBRIC 0–7 8–13 14–19 20–22 23–25 CRITERIA NOT ACHIEVED MODERATELY ADEQUATE MERITORIOUS OUTSTANDING ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT Production File: Scripts must be correctly formatted for film. Presuming that scripts have to be adapted Script and script from existing works (plays, poems or prose), scripts must communicate the essence of interpretation/ the source work but must be adapted for screen in a way that is cinematic/audio-visual. adaptation for Scripts must have an appropriate narrative arc with a sense of beginning, middle and film end – even if it is cyclical or repetitive. Scripts must 'show not tell.' Dialogue must be lean and not overburdened with detail. Production File: Learners should show extensive pre-production work in a production file which could Pre-production also include a journal. This shows the thinking, planning and process behind the film as and production well as indicating that the work as the student’s own. Learners must include documents planning and such as notes on production design, a script outline, storyboards, a shot list, a call documents sheet (containing all the key details of the shoot). Learners must develop a contingency shot-list, plan for possible mistakes and unforeseen problems. This can also be included in the call-sheet, journal. contingencies, etc. Production File: This can be included in the file above but is a section specifically on the post-production Post-production process. This could include log sheets, other editing notes, notes on the process and documents and difficulties encountered and journal notes on the postproduction process as a whole. reflection Cinematography Are shots well-composed? Have the shots been planned? Are shots appropriate for the content? Are shots motivated? Camera movement or stillness used well? Are visuals striking? Mise-en-scéne Does the mise-en-scéne tie in with and support the overall production design? How effectively has the location been used or a set been created? Efficacy of props, costumes, make-up, hair – has attention been paid to all of these? Audio elements/ Can we hear what’s going on? How effectively has a soundscape been created, Effects including ambient sound? Has (royalty-free) music been used effectively to create mood and support or drive visuals and narrative? Have sound effects been used (where relevant) to enhance the production? Editing Does the editing of the film make sense? Is it smooth and free of unintentional errors? Does the learner appear to understand the 'grammar' of editing? Does the editing style enhance and complement the overall style of the film? Performance Is the casting appropriate? Has the director elicited performances which are elements appropriate in style to the piece? Are the performances engaging and convincing? Do (direction, the performances adequately convey the narrative of the script? choices, etc.) Overall impact Do we understand what’s going on? Has the filmmaker communicated clearly? Is the of the film work as a whole engaging and satisfying? Do all the aspects (performance, visual, audio, editing) reinforce each other? Are we moved? Do we laugh? Does it have the desired effect? How original is the work? Does it stand out? Interview with Can the candidate articulate their intentions regarding the piece? Can they discuss their the candidate influences and interests and how they came to this idea? Can the candidate explain the choices they made at each stage of the production – including any changes they made during the process? Can they discuss the high and low moments of the process? Did they receive any help? Very importantly, is the work theirs? The journal and the interview are important in assessing this. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 44 DBE/PAT 2022 NSC ANNEXURE O: STAGE MANAGEMENT ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARK 0–7 8–13 14–19 20–22 23–25 DESCRIPTOR NOT MODERATELY ADEQUATE MERITORIOUS OUTSTANDING ACHIEVED ACHIEVED ACHIEVEMENT ACHIEVEMENT ACHIEVEMENT Prop list The candidate fails The candidate The candidate The candidate The candidate provides a props (where applicable) to provide a props provides a props list provides a props list provides a props list list with evidence of all props and list or provides an with evidence of only with evidence of all with evidence of all all scenes are included. The extremely limited some props. props; most scenes props and all scenes functions of the props are also list. are included. are included. included. Research around Research around suitable props is extensive, and suitable props is the best selections have been provided. made. Costume list The candidate fails The candidate The candidate The candidate The candidate provides a list of (where applicable) to provide a provides a limited provides a list of all provides a list of all all costumes and all scenes for costume list or and incomplete list of costumes and some costumes and all use are indicated. Detail is extremely limited costumes. No scenes for use are scenes for use are provided and the list is easy to list in evidence and scenes for use are indicated. indicated but list lacks navigate. Research around scenes for use are indicated. detail. Research suitable costumes is extensive, not indicated. around suitable and the best selections have costumes is provided. been made. Furniture list The candidate fails The candidate The candidate The candidate The candidate provides a (where applicable) to provide a provides a furniture provides a furniture list provides a complete complete furniture list, scenes for furniture list. list. Some furniture is of most furniture as furniture list, scenes use are indicated and the listed and scenes for well as most scenes for use are indicated function of each piece of use are not for use is indicated. and most functions are furniture. The list is easy to indicated. indicated. Research navigate. Research around around suitable suitable furniture is extensive, furniture is provided. and 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 The candidate provides evidence (where applicable) to provide provides evidence of provides evidence of provides evidence of of indicated sound cues with evidence of sound some sound cues indicated sound cues indicated sound cues impulse, reflecting speaker cues indicated. with sound levels with impulse reflecting with impulse, reflecting selection and sound level, with indicated. speaker selection and speaker selection and appropriate anticipation markers. sound level. sound level but sound The sound level is appropriate to 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 The candidate provides evidence (where applicable) to provide provides evidence provides evidence provides evidence indicated in the stage manager (consider evidence indicated indicated in the stage indicated in the stage indicated in the stage prompt book, of all LX cues equipment in the stage manager prompt manager prompt book, manager prompt book, correctly indicated, with impulse available) manager prompt book, of some LX of LX cues reflecting of LX cues, with and appropriate anticipation book, of LX cues cues reflecting light light area and light impulse indicated, markings, reflecting light area indicated. intensity. intensity as well as reflecting light area and light intensity appropriate to timing. and light intensity as the performance space as well well as timing. as timing. Movements noted The candidate fails The candidate The candidate The candidate The candidate provides evidence to provide notes of provides evidence of provides evidence of provides evidence of of all movements noted with the movements some movements all movements noted all movements noted use of appropriate abbreviations indicated in the noted indicated in indicated in the stage with the use of and reference to furniture and stage manager the stage manager manager prompt book. appropriate décor indicated in the stage prompt book. prompt book. abbreviations, manager prompt book. indicated in the stage manager prompt book. Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 45 DBE/PAT 2022 NSC ANNEXURE O (continued) STAGE MANAGEMENT ASSESSMENT TOOL RUBRIC LEVEL 1 2 3 4 5 MARK 0–7 8–13 14–19 20–22 23–25 DESCRIPTOR NOT MODERATELY ADEQUATE 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 46 DBE/PAT 2022 NSC ANNEXURE P: DEBRIEF OF THE PATs PERFORMANCE SECTIONS SAMPLE GENERIC QUESTION STEMS FOR CRITICAL THINKING Generic Question Stems Thinking Domain What do we already know about …..? Activation of prior knowledge How does … tie in with what we learned before? Activation of prior knowledge How does … affect …? Cause/effect analysis of relationship What do you think causes …? Why? Cause/effect analysis of relationship What is a new example of …? Application How could … be used to …? Application How does …apply to everyday life? Application – to the world How does the phrase … help you to understand the Application meaning of … How is … a metaphor for …? Application What are strengths and weaknesses of …? Analysis/Inference What is the difference between … and …? Analysis/Compare/Contrast Explain why … Explain how …? Analysis What is the nature of …? Analysis What are the implications of …? Analysis/Inference What does … mean? Analysis Why is … important? Analysis How are … and … similar? Analysis/Compare/Contrast Compare … and … with regard to …? Analysis/Compare/Contrast What is a counterargument for …? Analysis/Identification/Rebuttal to Argument What is a solution to the problem of …? Synthesis of Ideas What would happen if …? Prediction/Hypothesizing What is another way to look at …? Synthesis/Differing Point of View What is … analogous to? Synthesis/Identification and Creation of Analogies and Metaphors What is the best … and why? Evaluation/Provision of Evidence Do you agree or disagree with this statement …? Evaluation/Provision of Evidence What evidence is there to support your answer? Copyright reserved Please turn over

Downloaded from hlayiso.com Dramatic Arts 47 DBE/PAT 2022 NSC ANNEXURE Q: ASSESSMENT/MARKING/MODERATION: GOOD PRACTICE  Do the procedures used to ensure that marking is carried out accurately include training and monitoring of the examiners?  Are procedures in place and used to check accuracy of marking?  Are routine training or coordination procedures provided for markers and examiners?  Is this carried out to ensure standardisation?  Are single- or double-rating methods used, as opposed to 'shadow marking'?  Are checking methods used to detect possible human error?  Are procedures used and in place when differences between raters occur?  Are procedures used to establish pass marks and/or grades and cut scores?  Is the standard set and maintained?  Are assessment scales set and linked to CAPS?  Are cut scores set for pass/fail and other boundaries?  Are the different grade boundaries decided by samples and consensus?  Do moderators ensure that differences in performance are related primarily to skills under assessment rather than to irrelevant factors?  Are procedures used to detect test bias introduced by factors such as home language, country of origin (xenophobic bias), gender, religion, culture, age and race/ethnic origin?  Is standardisation of marks achieved? ANNEXURE R: MODERATION TOOL: 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 48 DBE/PAT 2022 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

Downloaded from hlayiso.com Dramatic Arts 49 DBE/PAT 2022 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