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NATIONAL
SENIOR CERTIFICATE
GRADE 12
DRAMATIC ARTS
NOVEMBER 2017
MARKS: 150
TIME: 3 hours
This question paper consists of 16 pages.
Copyright reserved Please turn over
Dramatic Arts 2 DBE/November 2017
NSC
INSTRUCTIONS AND INFORMATION
1. This question paper consists of FOUR sections:
SECTION A: 20th Century Theatre Movements (30)
SECTION B: South African Theatre: 1960–1994 (40)
SECTION C: South African Theatre: Post-1994 – Contemporary (40)
SECTION D: The History of Theatre, Practical Concepts, Content and Skills (40)
2. SECTION A
QUESTION 1 is COMPULSORY.
Refer to the play text you have studied and the relevant 20th Century Theatre
Movement.
EPIC THEATRE
• Caucasian Chalk Circle Bertolt Brecht
• Kaukasiese Krytsirkel Translation of Bertolt Brecht play text
• Mother Courage Bertolt Brecht
• Moeder Courage Translation of Bertolt Brecht play text
• The Good Person of Szechwan Bertolt Brecht
• Kanna Hy Kô Hystoe Adam Small
OR
THEATRE OF THE ABSURD
• Waiting for Godot Samuel Beckett
• Afspraak met Godot Translation of Samuel Beckett play text
• Bagasie André P Brink
• The Bald Primadonna Eugene Ionesco
• Die Kaalkop Primadonna Translation of Eugene Ionesco play text
OR
POSTMODERN THEATRE
• Skrapnel Willem Anker
• Top Girls Carol Churchill
• Popcorn Ben Elton
• Buried Child Sam Shepard
3. SECTION B
This section consists of THREE questions. Answer only ONE question in
this section.
QUESTION 2: Woza Albert! Percy Mtwa, Mbongeni Ngema and
Barney Simon OR
QUESTION 3: Sophiatown Junction Avenue Theatre Company OR
QUESTION 4: Siener in die Suburbs PG du Plessis
4. SECTION C
This section consists of THREE questions. Answer only ONE question in
this section.
QUESTION 5: Nothing but the Truth John Kani OR
QUESTION 6: Groundswell Ian Bruce OR
QUESTION 7: Missing Reza de Wet
5. SECTION D
This section consists of ONE question. QUESTION 8 is COMPULSORY.
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Dramatic Arts 3 DBE/November 2017
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SECTION A: 20th CENTURY THEATRE MOVEMENTS
This section is COMPULSORY.
QUESTION 1
Study SOURCE A below and answer the question that follows.
SOURCE A
Gansta’s Paradise
As I walk through the valley of the shadow of death You’re the voice
I take a look at my life and realize there's nothin' left … We’re not gonna
Coolio sit in silence
We’re not gonna
live with fear …
These are the days when anything goes
Bohemian Rhapsody John Farnam
Every day is a winding road
Is this the real life? I get a little bit closer
Is this just fantasy? Every day is a faded sign … Time Warp
Caught in a landslide, Sheryl Crow
No escape from It's astounding
reality Time is fleeting
Queen Madness takes its
It’s the End of the World as We Know It toll ...
The Rocky Horror
It’s the end of the world as we know it and Picture Show
I feel fine
R.E.M.
Evaluate how the lyrics of ANY of the songs in SOURCE A reflect the subject matter,
mood and messages of the 20th Century Theatre Movement of the play text you have
studied. Refer to the lyric(s) you have chosen, the play text you have studied and the
associated theatre movement (Theatre of the Absurd OR Epic Theatre OR
Postmodern Theatre).
Indicate the title of the play text you have studied at the top of your essay.
TOTAL SECTION A: 30
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Dramatic Arts 4 DBE/November 2017
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SECTION B: SOUTH AFRICAN THEATRE: 1960–1994
Answer only ONE question in this section.
QUESTION 2: WOZA ALBERT! BY PERCY MTWA, MBONGENI NGEMA AND
BARNEY SIMON
Study SOURCE B below and answer the questions that follow.
SOURCE B
Woza Albert! is a unique blend of protest theatre, township theatre and satire. Though
they had many ideas for the episodes in the play, they had no structure. Finally they
decided to structure the work by creating a series of parallels between the story of
Jesus, as it appears in the Gospels, and their own story. In Ngema's words, they
'translated the New Testament into today'. Simon, as director, knew what to leave out 5
and what to add and he also had skill with lines. Wole Sonyika described the final
product as being 'a Theatre of Poverty at its most affirmative, a reflection of the cultural
reality that brought it into being'.
Both actors play many roles. Woza Albert! relies heavily on images rather than
dialogue to tell the story. The highly theatrical opening scene begins with the image of 10
a jazz band created by the actors, who then transform into a white policeman and a
black musician.
[Source: Extract from OBE FOR FET]
2.1 Name the theatrical term used to describe the dramatic structure of Woza
Albert! Refer to line 3. (1)
2.2 Suggest the advantages of the dramatic structure identified in
QUESTION 2.1. (4)
2.3 Using examples from the play text, motivate why Woza Albert! might be
defined as protest theatre. (6)
2.4 Discuss where and how Mbongeni Ngema and Percy Mtwa found the material
to create their play, Woza Albert!, which is based on the question, 'What
would you do if Jesus Christ came to South Africa today?' (6)
2.5 Name a theatre practitioner who influenced the Theatre of Poverty style
(line 7) in Woza Albert! (1)
2.6 Motivate why Woza Albert! might be considered to be an example of Theatre
of Poverty (line 7). (6)
2.7 Describe the theatre skills and techniques the actors might use to create
'the image of a jazz band' (line 11) and 'transform into a white policeman and
a black musician' (lines 11 and 12). (6)
2.8 Discuss how Woza Albert! might be a 'reflection of the cultural reality'
(lines 7–8) that influenced the creation of the play.
Focus on:
• Characters
• Themes
• Socio-political context (10)
[40]
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Dramatic Arts 5 DBE/November 2017
NSC
QUESTION 3: SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY
Study SOURCE C below and answer the questions that follow.
SOURCE C
Johannesburg, 25 March 2016 – The classic musical, Sophiatown, is returning to
the Market Theatre in Johannesburg. First performed in 1986 as a 'living newspaper',
veteran director, Malcolm Purkey, one of the original members of The Junction
Avenue Theatre Company, is bringing the memorable production to life once again.
–eNCA News
3.1 Suggest why Sophiatown might be regarded as a classic musical. (4)
3.2 Explain your understanding of the term living newspaper. (2)
3.3 Discuss the value and function of creating Sophiatown, the play, as a 'living
newspaper'. (6)
3.4 Assess why it might be important for Sophiatown to be brought to life once
again on stage today. (6)
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Dramatic Arts 6 DBE/November 2017
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3.5 You were asked to assist Malcolm Purkey in directing and staging the final
scene of the play.
3.5.1 How would you, as a young director, benefit from working with
Malcolm Purkey on this new production? (2)
3.5.2 Discuss how you might block the final scene of the play using the
stage depicted in SOURCE C. (4)
3.5.3 As a director, discuss the vocal and physical performance choices
you would suggest to the actors portraying Jakes and Mamariti to
enhance the impact of the final scene. (6)
3.6 Evaluate whether the staging and design of Malcolm Purkey's new
production, as depicted in SOURCE C, are effective.
Include the following in your evaluation:
• Set design
• Lighting
• Stage type (10)
[40]
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Dramatic Arts 7 DBE/November 2017
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QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS
Study SOURCE D below and answer the questions that follow.
SOURCE D
TIEMIE: Ma … Ma, ek is anders … as Ma. Tjokkie lieg, Ma. Ek's nie so nie.
MA: Tiemietjie, Here tog, Tiemietjie …
TJOKKIE: Ek maak net almal seer.
JAKES: Moenie nou staan en mekaar opjazz oor hoe goed julle is nie.
MA: Loop, Jakes. 5
JAKES: Hoekom sal ek loop?
MA: Loop!
JAKES: Loop lat die klas girls mekaar kan staan en vertel hoe goed hulle eintlik is?
Ek wil weet wie se laaitie is daardie. Ek laat nie weer 'n Sybil op my trek nie.
MA: Loop! Ek sal die polisie roep. 10
JAKES: Loop roep hulle.
MA: Albertus, gaan sê vir Sarge. (Albertus af.)
JAKES: Laat hom loop. Ons sien wie is eerste klaar met wie. Ek sal julle … julle is
sleg, man. Julle is altwee slegter as hierdie tang.
TIEMIE: Loop asseblief, Jakes. Wat soek jy hier? 15
JAKES: Justice.
TIEMIE: Justice! Was dit justice toe jy my sommer aspris in die moeilikheid wou
bring? Jy't nog nooit 'n ding vir my oorgehad nie.
A big production company will be filming a contemporary (modern) version of Siener in
die Suburbs. Your acting agent has asked you to audition for the role of EITHER Jakes
OR Tiemie and has advised you to research the play.
4.1 According to Tiemie, what is Tjokkie lying about (line 1)? (1)
4.2 Explain what Tiemie means when she says that she is different from
Ma (line 1). (2)
4.3 Suggest why Tjokkie feels that he has hurt everyone (line 3). (2)
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Dramatic Arts 8 DBE/November 2017
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4.4 The director states that Siener in die Suburbs may be classified as a realistic
play because it adheres (keeps) to the three unities of time, place and action.
With reference to the play as a whole, explain whether this statement is
accurate or inaccurate. (6)
4.5 Discuss your design ideas on how to modernise some aspects of the play for
the new film version. Focus on the following:
4.5.1 Costume (refer to any ONE of the characters) (4)
4.5.2 Setting/Locations (2)
4.5.3 Set and props (4)
4.5.4 Sound effects (3)
4.6 Motivate how you would perform the role of Jakes OR Tiemie in the extract in
SOURCE D. Focus on the vocal AND physical characterisation of the
character you have chosen. (6)
4.7 The director commented, 'The play is certainly a pessimistic piece of theatre!'
Evaluate the director's comment. State whether you agree with his opinion or
not. Refer to the following in your discussion:
• Characters' struggles
• Themes
• Socio-economic context (10)
[40]
TOTAL SECTION B: 40
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Dramatic Arts 9 DBE/November 2017
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SECTION C: SOUTH AFRICAN THEATRE: POST-1994 – CONTEMPORARY
Answer only ONE question in this section.
QUESTION 5: NOTHING BUT THE TRUTH BY JOHN KANI
Study SOURCE E below and answer the questions that follow.
SOURCE E
[Source: Internet]
You have been requested to direct a new production entitled, The Truth Hurts But
Silence Kills, to commemorate 21 years after the TRC. You aim to celebrate the
effectiveness of the TRC in the healing process of our country. You have decided to
stage a scene from Nothing But The Truth as part of this new production.
5.1 SOURCE E is the first draft of a poster to advertise the production.
Suggest what you might add to the poster to advertise the production (2)
effectively.
5.2 Motivate why the title, The Truth Hurts But Silence Kills, might be suitable for
your new production. (2)
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5.3 State how Sipho's 'silence' about the truth hurt him. (4)
5.4 Briefly describe a scene in the play, Nothing But The Truth, which could be
included successfully in your new production. (2)
5.5 Explain how you might use Stanislavski's system/method to direct the actors
in the scene you selected in QUESTION 5.4. (6)
5.6 Refer to your chosen scene and explain TWO vocal and physical skills that
the actors can apply to portray the scene convincingly. (4)
5.7 Select and explain ONE other suitable item (song, monologue, etc.) you might
include in your production that will enhance the message of reconciliation
and forgiveness. (4)
5.8 Motivate your choice of a suitable venue for your new production. (4)
5.9 Discuss how Nothing But the Truth mirrors the TRC process of reconciliation
'in telling our stories of the past so that we can walk the road to reconciliation
together'.
Refer to the following in your discussion:
• Plot
• Characters
• Themes (12)
[40]
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Dramatic Arts 11 DBE/November 2017
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QUESTION 6: GROUNDSWELL BY IAN BRUCE
Study SOURCES F and G below and answer the questions that follow.
SOURCE F
You are directing a production of Groundswell which has been selected to be staged at
the National Arts Festival in Grahamstown. The festival organisers require information
which will help them to find the correct venue for your production and to advertise your
play.
They send you the questionnaire below to complete. Answer the questions in the
questionnaire in your ANSWER BOOK.
QUESTIONNAIRE
6.1 Motivate your choice of genre for the production of Groundswell. (2)
6.2 Briefly summarise the plot of the play. (3)
6.3 Suggest what vocal and physical training you require from EACH of the actors
you wish to cast, to give a convincing performance. (6)
6.4 Describe the type of stage space and set you require for your production. (6)
6.5 Motivate whether or not your production requires an age restriction. (2)
6.6 Give TWO reasons why you think that your production of Groundswell would
benefit from being staged at the Grahamstown Festival. (4)
AND
SOURCE G
#Groundswell@Grahamstown
Groundswell lands at Grahamstown!! Filled with intrigue, illicit diamond deals en
suspense, this play promises to be the hit of the Festival. It has something for
everyone!
6.7 Comment on the effectiveness of the tweet in SOURCE G to market your play
successfully. (4)
6.8 Suggest an appropriate sponsor for the play. (1)
6.9 Write a director's note for your theatre programme, in which you discuss the
statement in SOURCE G: 'Filled with intrigue, illicit diamond deals and
suspense, this play promises to be the hit of the Festival. It has something for
everyone!'
Consider the following in your director's note:
• Sociopolitical relevance
• Themes and issues
• Action and dialogue (12)
[40]
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Dramatic Arts 12 DBE/November 2017
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QUESTION 7: MISSING BY REZA DE WET
Study SOURCES H, I and J and answer the questions that follow.
SOURCE H
You are directing a production of Missing by Reza de Wet at a national arts festival.
The festival organisers require information on your production.
They send you the questionnaire below to complete. Answer the questions in the
questionnaire in your ANSWER BOOK.
QUESTIONNAIRE
7.1 Identify and give an example of where ONE of the following genres might be
found in the play:
• Comedy
• Tragedy
• Tragicomedy (2)
7.2 Identify ONE antagonist in the play. (2)
7.3 Comment on the following statements made by previous audiences:
7.3.1 'The play should not be translated!' (2)
7.3.2 'The play is outdated and irrelevant!' (2)
7.4 Suggest why the play is often referred to as 'magical' in nature. (4)
AND
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Dramatic Arts 13 DBE/November 2017
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SOURCE I
VENUE A: OLD HOUSE VENUE B: CIRCUS TENT
VENUE C: CASTLE VENUE D: STONEHENGE
7.5 Select ONE of the *site-specific venues in SOURCE I. Explain why your
selection would make a stimulating performance space in which to stage your
contemporary production of Missing.
(*Site-specific venue – a unique, adapted venue/space, other than a theatre,
that can be used for a performance) (6)
7.6 Using an example from the play text, state reasons whether or not your
production might require an age restriction. (4)
7.7 Describe how you might create the symbolism of darkness and light through
the use of sound and lighting in your production. (6)
AND
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Dramatic Arts 14 DBE/November 2017
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SOURCE J
#WhatisMissing@Festival
Local school to perform at a national arts festival after winning a prestigious award with
their contemporary (modern), translated version of Reza de Wet's Missing. It is magical
and wonderful. This magnificent play is rich with symbolism, transformation and
liberation. It is deliciously Gothic. It has something for everyone!
7.8 Write director's notes for your theatre programme in which you discuss the
following statement in SOURCE J:
'This magnificent play is rich with symbolism, transformation and liberation.
It is deliciously Gothic. It has something for everyone!'
Consider the following in your director's note:
• Characters and situation
• Themes and issues
• Plot and action of the play (12)
[40]
TOTAL SECTION C: 40
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Dramatic Arts 15 DBE/November 2017
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SECTION D: THE HISTORY OF THEATRE, PRACTICAL CONCEPTS, CONTENT
AND SKILLS
SECTION D is COMPULSORY.
QUESTION 8
Study SOURCE K below and answer the questions that follow.
SOURCE K
IMAGES FROM THE #FeesMustFall CAMPAIGN
In Dramatic Arts you learnt about the ability of theatre to change society. You were
recently inspired by the images from the #FeesMustFall campaign in SOURCE K
above. You and your fellow Grade 12 learners have decided to workshop a protest
play based on the #FeesMustFall campaign.
Your first scene consists of learners toyi-toying and holding up posters. The slogans on
the posters show additional issues/themes you might select for your production.
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Dramatic Arts 16 DBE/November 2017
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8.1 Give your production a new #hashtag title. (1)
8.2 Describe the following:
8.2.1 The purpose of your production (2)
8.2.2 The number of performers (1)
8.2.3 The target audience (1)
8.2.4 The performance space (2)
8.3 Plan a rehearsal schedule in which you name and explain the phases of the
workshop process. (6)
8.4 Describe how actors might use the performance space in order to maximise
the theatrical impact of your opening scene. (3)
8.5 Identify the theatrical elements found in a group 'toy-toying and holding up
posters'. (4)
8.6 Assess the possible impact on an audience of the opening scene in which
learners are toyi-toying. (4)
8.7 Explain how you might apply Grotowski's Poor Theatre principles to your
production. (6)
8.8 'In Dramatic Arts you learnt about the ability of theatre to change society.'
Discuss the validity (truth) of the above statement.
Use your knowledge of dramatic processes, principles and skills and the
impact of the following in your answer:
• Play texts you have studied
• Perfomances you have seen
• Your own production (10)
TOTAL SECTION D: 40
GRAND TOTAL: 150
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