GRAAD 12 NATIONAL SENIOR CERTIFICATE GRADE 12

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1 GRAAD 12 NATIONAL SENIOR CERTIFICATE GRADE 12 DRAMATIC ARTS NOVEMBER 2012 MARKS: 150 TIME: 3 hours This question paper consists of 22 pages.

2 Dramatic Arts 2 DBE/November 2012 NSC INSTRUCTIONS AND INFORMATION 1. ANSWER ONLY THE QUESTIONS ON THE DRAMATIC TEXTS YOU HAVE STUDIED. 2. You have been allocated FIFTEEN minutes reading time before the start of the examination. 3. This question paper consists of THREE sections. SECTION A SECTION B SECTION C (30 marks) (60 marks) (60 marks) 4. SECTION A consists of TWO questions: QUESTION 1: QUESTION 2: Epic Theatre (Caucasian Chalk Circle, Mother Courage or Kanna Hy Kô Hystoe) Theatre of the Absurd (Waiting for Godot, The Bald Primadonna or Bagasie) Answer only ONE question from SECTION A. 5. SECTION B consists of EIGHT questions: QUESTION 3 (Boesman and Lena) QUESTION 4 (unosilimela) QUESTION 5 (Woza Albert!) QUESTION 6 (Sophiatown) QUESTION 7 (Nothing but the Truth) QUESTION 8 (Groundswell) QUESTION 9 (Siener in die Suburbs) QUESTION 10 (Missing) Answer only TWO questions from SECTION B. 6. SECTION C consists of THREE questions. QUESTION 11 and QUESTION 12 are COMPULSORY. From QUESTION 13, answer any ONE of the three questions: QUESTION 13.1 OR QUESTION 13.2 OR QUESTION Number the answers correctly according to the numbering system used in this question paper. 8. Pay attention to the number of marks allocated to each question. 9. Use your classroom knowledge, as well as independent and creative thinking, to answer the questions. 10. Write neatly and legibly.

3 Dramatic Arts 3 DBE/November 2012 NSC SECTION A: UNDERSTAND AND ANALYSE Answer EITHER QUESTION 1: EPIC THEATRE OR QUESTION 2: THEATRE OF THE ABSURD. QUESTION 1: EPIC THEATRE Answer this question if you have studied Caucasian Chalk Circle OR Mother Courage OR Kanna Hy Kô Hystoe. Brecht defined his Epic Theatre as challenging the dream world where all problems are carefully resolved; he wanted a spectator who was awake and alert. His theatre posed problems and, far from solving them, was designed to leave the audience with the task of finding solutions. Discuss in an essay how the Epic techniques and the themes used in the Epic play you have studied this year encouraged the audience to be aware and critical of society's problems. [30] OR QUESTION 2: THEATRE OF THE ABSURD Answer this question if you have studied Waiting for Godot OR The Bald Primadonna OR Bagasie. Absurd Theatre was surreal, illogical, conflictless and plotless. The dialogue often seemed to be complete gibberish. And, not surprisingly, the public's first reaction to this new theatre was incomprehension and rejection. (Jerome P Crabbe) Explain in a detailed essay how the statement above is true of the Absurdist genre. You may include the following in your answer: Philosophy of Theatre of the Absurd Characteristics/Features of Theatre of the Absurd Structure of plays Dialogue used in plays You must use specific examples from the play text to support your answer. [30] TOTAL SECTION A: 30

4 Dramatic Arts 4 DBE/November 2012 NSC SECTION B: UNDERSTAND AND ANALYSE Answer only TWO questions from this section. QUESTION 3: BOESMAN AND LENA BY ATHOL FUGARD Read the extract from Boesman and Lena below and answer the questions that follow. LENA: BOESMAN: LENA: BOESMAN: LENA : BOESMAN: LENA: BOESMAN: Aikona! I'll go to the police. You tried that before and what happened? 'She's my woman, baas. Net a bietjie warm gemaak.' 'Take her' finish en klaar. They know the way it is with our sort. Not this time! My name is Mary, remember. 'Don't know this man, baas.' So where is your proof. [Holding up a clenched fist] Here! Oppas! You'll go too far one day. Death penalty. For you? [Derisive laughter.] Not guilty and discharge. Don't talk big. You're frightened of the rope. When you stop hitting it's not because you're moeg or had enough. You're frightened! Ja. [Pause] Ja. That's when I feel it most. When you do it carefully. The last few when you aim. I count them. One another one wait for the next one! He's only resting. You're right, Boesman. That's proof. When I feel it I'll know. I'm Lena. [Emphatically] And I'm Boesman Explain why Athol Fugard chose to use a mixture of languages in the extract above. (4) 3.2 Study lines Why did the police at that time not take Lena's complaints of abuse seriously? (4) How does Boesman's dialogue in these lines highlight his attitude towards abuse and domestic violence? (4) This play was first produced on 10 July 1969 and reflected attitudes that were prevalent at that time. Do you think that the attitude of the police towards abuse and domestic violence has changed since then? Give reasons for your answer. (4) 3.3 Why does Lena not carry out her threat of leaving Boesman? (3) 3.4 Describe the stage type that would suit a production of Boesman and Lena. Give a reason for your answer. (3) 3.5 'Lena is Boesman's victim and Boesman is society's victim.' Discuss how the extract reveals the validity (truth) of the statement above. Refer to the extract and the text as a whole. (8) [30]

5 Dramatic Arts 5 DBE/November 2012 NSC QUESTION 4: unosilimela BY CREDO MUTWA Read the extract from unosilimela below and then answer the questions that follow. STORYTELLER: The storyteller. The umuzi of Magadlemzini is set on the ithala. The actors populate it as the storyteller narrates. Women are busy at various household chores; men sharpen, carve, decorate weapons, drink, chat, etc. No more in the mists of legend but the living present, where in the south-west of Natal, on the banks of the Nkomazi River, there live the amaqhashi, who have been at war with the amadedevu for over a hundred years. The amaqhashi are ruled by their king, Magadlemzini, who loves nothing more than to lie in the sun pretending to be sick. His great wife is Namdozolwana oyinyumba, barren sangoma, guardian of the cave of the Earth Mother. ithala/inkundla. Magadlemzini's umuzi. The amaqhashi is singing a satirical song about Namdozolwana, while one of the women stands guard unosilimela contains elements of mythology. Identify a myth from the text and explain how it enhances (adds to) the structure and style of the play. (4) 4.2 In the play unosilimela, the storyteller assumes the position of God the Creator How does the storyteller help the audience to understand the play better? (2) How would you dress the storyteller to represent 'the image of God'? (2) Imagine that you have been cast to play the role of the storyteller. Explain how you would present lines 5 11 using any TWO attributes of speech (inflection, volume, pitch, pace, pause and emphasis) to present the character of the storyteller effectively. (4) 4.3 Explain how you might use any THREE props to enhance the performance of the play. Motivate your answer. (6) 4.4 Carefully study the stage ground plan of unosilimela on the next page and answer the questions that follow.

6 Dramatic Arts 6 DBE/November 2012 NSC A U D I E N C E 3. LIFE AREA AUDIENCE 1. SPIRIT AREA 5. Ishashalazi 2. HIGH AREA 6 4. Inkundla 3. LIFE AREA AUDIENCE A U D I E N C E STAGE AREAS 1. Spirit Area Stage area for the supernatural Cave and/or Ithala Sacred enclosure reserved for God 2. High Area Area where story is introduced 3. Life Area Stage area where main events take place and audience/performers are seated 4. Inkundla Stage where dramatic action is concluded 5. Ishashalazi Additional stage for main performance 6. Entrance and Exit Only entrance for both actors and audience [ Endlini kagogo: IKS in Contemporary Context by Phil Manana 2010] Why is the audience made to sit around some of the acting areas? (4) State ONE advantage of this type of staging. (2) Discuss ONE limitation of this type of staging. (2) What sounds and other special effects could you use to reflect the sacred (holy) nature of the Ithala/cave? (4) [30]

7 Dramatic Arts 7 DBE/November 2012 NSC QUESTION 5: WOZA ALBERT! BY PERCY MTWA, MBONGENI NGEMA AND BARNEY SIMON Read the extract from a review by Lesley Stones of the play Woza Albert! below and then answer the questions that follow. This is an extremely physical piece of theatre, with actors Mncedisi Shabangu and Hamilton Dlamini dashing around in tackies and tracksuit bottoms. They're quickly drenched in sweat, partly because the air conditioning failed and partly because the play is so demanding. It's amazing how much noise two men can make, as they imitate prison sirens, trains, barking dogs and a dozen other sounds of daily life of the streets of Joburg. 1 5 The play by Percy Mtwa, Mbongeni Ngema and Barney Simon is stuffed with wit and satire. Shabangu and Dlamini play a variety of characters to highlight the inequalities of life when whites had it all and blacks picked up the scraps. Pink clown noses turn them into Afrikaners, emphasising the point in a subversive (rebellious) and a visual way. Both actors bristle with skill and vigour, and Shabangu's amazing facial expressions really touch the heart. Playing an old tattered tramp, he gallantly tries to thread a needle to repair his threadbare coat. The audience clapped spontaneously when the imaginary thread finally went through the imaginary needle Would you be encouraged to watch a performance of the play Woza Albert! after reading this review? Motivate your answer. (4) 5.2 Explain why the performance of this play is described as an 'extremely physical piece of theatre'. Give TWO reasons. (4) 5.3 Explain why and how the actors use their bodies as instruments of performance to create various characters and the sounds in the play. (6) 5.4 'The audience clapped spontaneously when the imaginary thread finally went through the imaginary needle' (lines 14 15). What acting technique is used here and why was it necessary to use this method? (3) 5.5 Explain why Woza Albert! is a good example of a protest play. (3) 5.6 Discuss TWO themes, with examples from the play, that draw attention to the 'inequalities of life when whites had it all and blacks picked up the scraps' (lines 8 9). (10) [30]

8 Dramatic Arts 8 DBE/November 2012 NSC QUESTION 6: SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY Refer to the sources below and answer the questions that follow. SOURCE A B C A A production photo of Sophiatown showing the extract in SOURCE B SOURCE B (The household breaks into a celebratory song.) A bo tle Re ba kakqathe Ga bo pala Re bo tsho lole (x 2) (Let it come We'll drink it If it doesn't taste nice We'll throw it out) (x 2) 1 5 RUTH: FAFHEE: RUTH: FAFHEE: JAKES: (RUTH fetches bottles of gin, brandy and whiskey, hidden in brownpaper packets. LULU hands out glasses. The song gets raucous. RUTH interrupts.) I've got a surprise! Along with the usual gift from the Yeoville shops: a bottle of special home-made Jewish Friday night wine. What? I thought we might all like to try it. It's specially made for Friday night, and today's Friday, so here we are. Who knows, the entire house may be miraculously converted. Three drops of this Jewish wine and we're all Softown Majietas. Com'on then, let's hit that bottle. (He opens the wine and pours.) Right everybody, take a glass. We'll drink a toast in Jewish wine to the Jewish girl. And here's hoping for an instant rise in circulation

9 Dramatic Arts 9 DBE/November 2012 NSC 6.1 Identify characters A, B and C on the production photo. (3) 6.2 Why does the household break out in a celebratory song in line 1? (3) 6.3 What was the purpose of including songs in the play Sophiatown? (4) 6.4 Explain how Ruth, a white girl, ended up living in Mamariti's shebeen and what does this say about her character? (4) 6.5 In this scene all the characters are enjoying themselves. Describe, in a paragraph, another scene from the play where the mood and atmosphere are completely different. (5) 6.6 The play Sophiatown was created by the Junction Avenue Theatre Company Name the process used to create this play. (1) Briefly describe THREE phases in the creation process. (6) How might this method of creating plays benefit a theatre company? (4) [30]

10 Dramatic Arts 10 DBE/November 2012 NSC QUESTION 7: NOTHING BUT THE TRUTH BY JOHN KANI Study the sources below and then answer the questions that follow. SOURCE A A production photo of Nothing but the Truth showing the extract in SOURCE B SOURCE B SIPHO: MANDISA: SIPHO: MANDISA: SIPHO: THANDO: SIPHO: MANDISA: SIPHO: MANDISA: SIPHO: MANDISA: SIPHO: MANDISA: SIPHO: MANDISA: The funeral! Oh, my God! The funeral! What are we going to do? What about the night vigil? Reverend Haya is coming to conduct a small service for the arrival of Themba's body. What body? How could you do this to me? Why didn't your mother say anything to me? My mother wrote to you, Uncle Sipho, and you never replied. Anyway, I don't see the problem. That's what everybody does in England. You burnt my brother. Don't say burnt. He was cremated, and that was my mother's wish. Your mother's wish. You burnt him to ashes. Daddy, please! (Pointing to the urn): What is in this thing? His ashes. All of him. Some of him. Where is the rest? You don't take all the ashes from the oven. It's symbolic. The rest is discharged is the word they use. You mean thrown away? All right. Yes. I want them all. Oh, this is ridiculous. I didn't come here to argue about ashes

11 Dramatic Arts 11 DBE/November 2012 NSC 7.1 By describing the set and costumes in SOURCE A, explain how it enhances (adds to) the realistic genre of the play. (6) 7.2 Explain why the urn on the table (SOURCE A) is a source of conflict in this scene. (4) 7.3 Refer to the extract in SOURCE B. How would you direct an actor portraying Sipho vocally and physically to draw attention to his emotional state in lines 1 4? (6) 7.4 Discuss the cultural differences between Mandisa and Sipho which are evident in the extract above and the play as a whole. (6) 7.5 Discuss the relevance that a play like Nothing but the Truth has in society by referring to the characters, dialogue and subject matter. (8) [30]

12 Dramatic Arts 12 DBE/November 2012 NSC QUESTION 8: GROUNDSWELL BY IAN BRUCE Refer to the sources below and answer the questions that follow. THAMI: JOHAN: THAMI: JOHAN: THAMI: JOHAN: THAMI: JOHAN: THAMI: JOHAN: THAMI: JOHAN: THAMI: JOHAN: THAMI: JOHAN: THAMI: JOHAN: THAMI: JOHAN: THAMI: SOURCE A There are men in the informal settlement of Rooikamp who will sell you a diamond for the price of a white pipe or a papsak. That's who you've been talking to? My parcel is growing fatter month by month. Week by week, in fact. (Shocked) You're lying. No. You're lying. Where's it? Safe. Why didn't you tell me about it before? Why should I tell you? So you can tell me it's wrong, and I must rather wait until you can get a jackpot? I thought you were my friend, my partner. I can't be that. (Johan fetches the knife, approaches Thami.) I wanted to help you, Thami. I wanted to make things right for you. I don't need you to do that for me. (Struck) No, don't say that. I don't need you for anything. (Shows the knife) I'm warning you, I'll I know what you'll do. Don't make me. Don't make you what? Kill an unarmed man? Why not? That's what you can do. I didn't mean to But you did! You killed a man who couldn't protect himself. SOURCE B A production photo of Groundswell showing the extract in SOURCE A

13 Dramatic Arts 13 DBE/November 2012 NSC 8.1 Which performance style would be most appropriate for this play? (1) 8.2 Describe the set that one might use to support the performance style of the play. (6) 8.3 What does Thami mean in line 11 when he speaks about a 'jackpot'? (3) 8.4 Study line What event is Thami referring to in this line? (2) Discuss how Thami's statement highlights the theme of guilt and redemption. (4) 8.5 In lines 5 and 7 Johan repeats the words 'You're lying'. How would you direct the actor performing the role of Johan to deliver these lines vocally and physically to highlight the growing tension between the two characters? (4) 8.6 Refer to the photo in SOURCE B. Although Johan is holding a knife, Thami's body language does not convey fear. Explain the shift in power in between Johan and Thami that culminates in the final confrontation between them. (6) 8.7 Read the excerpt from a review of Groundswell below and then answer the question that follows. Post-apartheid South Africa may seem far away from here, but the tale that unravels in Groundswell (which is set there), is one many audience members may relate to quite easily. Written by Ian Bruce, this thriller follows three men who traverse a tightrope of greed and desperation in a chaotic scheme. (Diana Saenger) Do you agree that audience members would enjoy the play even if they did not know the history of apartheid? Motivate your answer. (4) [30]

14 Dramatic Arts 14 DBE/November 2012 NSC QUESTION 9: SIENER IN DIE SUBURBS BY PG DU PLESSIS 9.1 The characters in the play find themselves in a very specific social environment where a distinction is made between the upper and lower worlds of the suburbs Name ONE character that belongs to the upper world of the suburbs and say why he/she is placed there. (3) In which world would you place the character of Sybil? Give a reason for your answer. (2) SOURCE A The characters strive to escape from the misery of a precarious existence. (Ernst Lindenberg from his review 'Siener is Remarkable') 9.2 Discuss how the character of Tiemie reflects someone who is striving to escape from the 'misery of a precarious existence' (struggling to live). (10) SOURCE B 9.3 Read the extract below from the play and answer the questions that follow. JAKES: FÉ: GIEL: JAKES : GIEL: JAKES: GIEL: JAKES: Kom, laat die oues van dae 'n slukkie drink. Sies! (Sy gaan staan by die motor.) Nee, skink maar, ou vriend. (Skink) Vir die soetgeit en die bloedgeit En die cherries se rondgeit En die halfjack se kleingeit En die moeilikgeit (Hulle drink.) Jy moenie van moeilikheid praat nie, Jakes. Ek is in 'n lelike ding. Jy dink jý't moeilikheid! Jy moet myne hoor. Dis 'n ernstige ding wat ek in is. Ek praat nou baie waar. Orraait, let money talk. As jy groter moeilikheid het as ek, gee ek jou 'n kas van dié. Kom ons drink eers 'n lekka dikke op die ding. Ons versuip ons moeilikhede. Vrydag is Vrydag. (Hy skink weer.) Hier gaat die moeilikheid In the extract above Giel and Jakes say that they have 'trouble' ('moeilikheid'). Explain Giel's 'trouble'. (3) You are playing the character of Jakes. Explain how you would perform lines 1, 4 7 and 10 vocally and physically to make Jakes's conversation with Giel engaging (to hold the audience's attention). (6)

15 Dramatic Arts 15 DBE/November 2012 NSC You are the director of Siener in die Suburbs. Draw the sketch below in your ANSWER BOOK and show, with reasons, where you would place/position the characters Jakes, Fé and Giel during their conversation in the extract above. Make use of the following key when indicating where you would position the characters: J = Jakes F = Fé G = Giel STAGE AUDIENCE (6) [30]

16 Dramatic Arts 16 DBE/November 2012 NSC QUESTION 10: MISSING BY REZA DE WET 10.1 Study the sources and answer the questions that follow. SOURCE A A photo taken during the Great Depression ( ) Describe the social and economic conditions of the Great Depression that form the background of the play Missing. (4) Explain how EACH of the following characters has been influenced by the Great Depression: Miem Gabriel Meisie (3) (3) (3)

17 Dramatic Arts 17 DBE/November 2012 NSC SOURCE B 10.2 Read the extract below and answer the questions that follow. GERTIE: MIEM: GERTIE: MIEM: GERTIE: MIEM: MEISIE: MIEM: GERTIE: MIEM: MEISIE: GERTIE: Ag, Miem. Tonight's no time to be alone! (Sighs and sits down.) You can say that again. (She picks up her sacking and sews.) I was just thinking how big my garden is and how far away my neighbours are and then, in the quiet I heard noises. The whole house started creaking and the shutters banged. It was awful. Shame, Gertie. Not surprising though. (Lifts her foot and rests it on a chair) And then I heard an owl screech in the garden. You know what the old people say well, I just threw a few things together and I'm sorry to arrive on your doorstep like this! You did the right thing, Gertie. We all have to stand together tonight. I heard an owl last night. In the tree outside my window. My poor girl. But don't you worry. I don't want to be any trouble. No trouble at all, Gertie. You can sleep on the camp bed in my room. Meisie, take miss Gertie's things to the room. Yes, Ma. (She picks up the hat and case and exits through the passage door.) (Calling after her) Thanks, Meisie. (A soft, moaning wind can be heard.) Why does Gertie say 'tonight's no time to be alone' (line 1)? (2) Traditionally the screech of an owl is a sign of evil. Explain how the references to owls connect to the theme of exorcism in Missing in the extract above. (4) Discuss how the playwright Reza de Wet uses the sound of the wind to convey atmosphere and meaning in Missing. Refer to the extract above and the play as a whole. (6) You are playing the role of Gertie. Explain how you would perform lines 9 11 vocally and physically to create the mood and atmosphere evident in these lines. (5) [30] TOTAL SECTION B: 60

18 Dramatic Arts 18 DBE/November 2012 NSC SECTION C: APPLY PERSONAL RESOURCES AND REFLECT AND EVALUATE SECTION C is COMPULSORY. QUESTION 11 Read the monologue from Mr Matwetwe by Thembile Pepetka below and answer the questions that follow. MR MATWETWE: Then I saw a group of young boys, I suddenly returned to my earthly senses, in a panic I hid the bible under my jacket, but it was too late One of them screamed 'Impimpi! (Spy) a walkietalkie under his jacket!' They chased me with pangas, sticks, stones. I dropped the bible while I was running confused, crying for my life, I ran to this house (running around the stage) they closed the door, I ran to this house they closed the door, I ran to this one they closed the door, they all closed their doors because they didn't want to be contaminated (infected) by my disease. Down there at Mbizweni Square I saw a hippo (army vehicle), I thought God was with me, I ran to the hippo, but then it pulled off, the so-called protectors of my township went away. The only thing I remember after that was, I was tired, (kneels down) they put a tyre round my neck, added cold petrol over my body and set me alight Imagine that you had to present the monologue above as part of your Theme Programme. Describe TWO exercises you would use to prepare your voice and body to deliver such a serious monologue. (4) 11.2 Explain how vocal variety can be used in the monologue above to create the sense of growing fear and panic that Mr Matwetwe is feeling. (6) 11.3 Ellipses (...) are found in lines 1, 3 and 5. What do you suggest should happen where these ellipses occur, and why? (2) 11.4 Suggest what the other members in your group should be doing while you are delivering this monologue. (3) [15]

19 Dramatic Arts 19 DBE/November 2012 NSC QUESTION 12 Refer to the sources below and answer the questions that follow. SOURCE A 12.1 Would you consider the performance in SOURCE A to be an example of Physical Theatre? Motivate your answer. (3) 12.2 Explain whether you would prefer to watch a physical theatre performance or a performance of a traditional play. (4) 12.3 How would having an all-male or an all-female cast affect the presentation of a physical theatre performance? Motivate your answer. (4) 12.4 The body speaks more eloquently (powerfully) than words. Why would this statement be true for the performance in SOURCE A? Motivate your answer. (6)

20 Dramatic Arts 20 DBE/November 2012 NSC SOURCE B 12.5 Study the picture in SOURCE B. Do you think that the use of costumes would enhance the presentation of a movement piece? (3) 12.6 Discuss TWO skills/qualities a learner would need in order to perform in the movement piece shown above. (4) 12.7 Discuss THREE factors that you and your group took into consideration in the planning and preparation of your movement piece. (6) [30]

21 Dramatic Arts 21 DBE/November 2012 NSC QUESTION 13 Answer ONE of the following three questions, that is QUESTION 13.1 OR QUESTION 13.2 OR QUESTION Your answer should be a minimum of ONE page in length LIVE PERFORMANCE (CHOICE QUESTION) The audience is the most revered member of the theatre. Without an audience, there is no theatre. Everything done is ultimately for the enjoyment of the audience. They are our guests, fellow players, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful. (Viola Spolin) Discuss the validity of the statements above by stating the impact the audience has on the actor and his performance. In your answer, refer to: Performances you have watched Your own experience of performing Theatre practitioners you have studied [15] OR 13.2 MEDIA STUDIES (CHOICE QUESTION) Reality shows like Big Brother, Survivor, Idols, America's Got Talent, et cetera, have become very popular with audiences today. These shows appeal to people because of the dream to make it big, to have their names in bright lights, to be celebrities and to be famous. In the end, the ordinary man is forgotten and only the sponsors win. Discuss the popularity of reality shows and explain why they appeal to ordinary people. In your answer, refer to: Techniques used (for example the use of celebrities) Audience participation Media hype [15] OR

22 Dramatic Arts 22 DBE/November 2012 NSC 13.3 CULTURAL PERFORMANCE AND RITUAL (CHOICE QUESTION) 'Ayibukelwa!' (SiSwati) [No spectators allowed!] 'Ayibukelwa' is an EmaSwati proverb that specifically refers to the indigenous incwala [self-fortification ceremony] which discourages spectatorship during the performance. In indigenous performances the audience is expected to mingle with the actors and take part in the performance. There is no distinction between the actor and the spectator. Discuss the validity of the statement above. In your answer, refer to: The ceremony above Any other cultural ceremony that you practise or are familiar with The relationship between the actor and the audience [15] TOTAL SECTION C: 60 GRAND TOTAL: 150

23 GRAAD 12 NATIONAL SENIOR CERTIFICATE GRADE 12 DRAMATIC ARTS NOVEMBER 2012 MEMORANDUM MARKS: 150 This memorandum consists of 24 pages.

24 Dramatic Arts 2 DBE/November 2012 NSC Memorandum GENERAL NOTES TO MARKERS 1. As a marker, make short comments why a point was marked up or down if the memorandum does not give a clear guideline and the marker has to use his/her own discretion. 2. Tick clearly to indicate the learning point which is being assessed. Markers should engage actively with the answer. 3. Chief markers to facilitate the rubric with markers. The level descriptors of each rubric must guide the marking. 4. Have regular rounds of consultation to ensure marking is standardised. 5. In the case where a candidate writes more than the suggested number of words do not penalise (essay question). 6. The memo discussion forum cannot sufficiently predict all responses. Provincial markers to take this into account and be open to candidates' responses and make sure that different teaching styles do not disadvantage the learner. 7. Spend the first day to unpack the quality and quantity of the evidence in the memorandum and standardise and find common definitions and concepts. 8. Markers must align Assessment Standards with the answers.

25 Dramatic Arts 3 DBE/November 2012 NSC Memorandum INSTRUCTIONS TO DRAMATIC ARTS MARKERS ON THE GRADE 12 QUESTION PAPER The question paper is THREE hours long. The TOTAL marks for the question paper is 150. Reading time of FIFTEEN minutes has been allocated before the start of the question paper. This is necessary to provide candidates with the opportunity to make the required choices. The question paper consists of THREE sections: SECTION A, SECTION B and SECTION C. SECTION A counts 30 marks, SECTION B counts 60 marks and SECTION C counts 60 marks. SECTION A consists of TWO questions focusing mainly on LO3, but LO2 is also tested directly and indirectly: QUESTION 1: Epic Theatre (Caucasian Chalk Circle, Mother Courage or Kanna Hy Kô Hystoe) QUESTION 2: Theatre of the Absurd (Waiting for Godot, The Bald Primadonna or Bagasie) Candidates must answer ONE of the two questions. 7. SECTION B consists of EIGHT questions focusing mainly on LO3 (but other LOs are also tested directly and indirectly) and specific plays from the South African theatre movement: QUESTION 3 (Boesman and Lena) QUESTION 4 (unosilimela) QUESTION 5 (Woza Albert!) QUESTION 6 (Sophiatown) QUESTION 7 (Nothing but the Truth) QUESTION 8 (Groundswell) QUESTION 9 (Siener in die Suburbs) QUESTION 10 (Missing) Candidates must answer TWO of the eight questions. 8. SECTION C consists of THREE questions focusing mainly on LO1 and LO4. LO2 is also tested directly and indirectly. This section is COMPULSORY. The weighting of the LOs for the paper according to the SAG document is as follows: LO1 20% (30 marks) LO3 60% (90 marks) LO4 20% (30 marks)

26 Dramatic Arts 4 DBE/November 2012 NSC Memorandum SECTION A: UNDERSTAND AND ANALYSE Candidates answered ONE question, either QUESTION 1: EPIC THEATRE or QUESTION 2: THEATRE OF THE ABSURD. QUESTION 1: EPIC THEATRE CANDIDATES ANSWERED THIS QUESTION IF THEY HAD STUDIED CAUCASIAN CHALK CIRCLE OR MOTHER COURAGE OR KANNA HY KÔ HYSTOE. Markers should allow for well motivated answers that display unconventional and creative approaches. CATEGORY MARK LEVEL DESCRIPTORS (EVIDENCE) Outstanding Well organised, comprehensive and coherent, polished achievement structure. Supported by an exceptionally high level of competence to process information into original interpretation and thoughtful selection of facts. Uses a selection of relevant dramatic references. Insightful, fluent, observation and knowledge powerfully expressed. Candidate discusses a range of Epic techniques and covers the themes of the play that aim at getting the audience to think critically about the play. He/She is able to discuss how the unconventional techniques that are used in Epic Theatre support the statement by giving specific examples from the text that has been studied. Candidate discusses the themes of the play to support the statement, and his/her answer is sustained with relevant examples from the play. The candidate shows an exceptional understanding Meritorious achievement Substantial achievement of Epic Theatre and the play that has been studied Well organised, detailed and coherent, polished structure. Supported by a high level of competence and careful selection of facts to process information. Uses a selection of relevant dramatic references. Shows insight, observation and knowledge well expressed. This candidate has a similar level of knowledge of Epic Theatre and the play that has been studied as the Outstanding candidate. The main difference is the ability to connect to the essay topic, to discuss the topic and to use language effectively. This candidate often overwrites by writing down correct but irrelevant information. Not as concise and sophisticated as the Outstanding candidate Organised, detailed, some level of competence, some slight flaws evident in structure. Interesting reading, clear statements, convincing, simple direct language. Supported by a selection of relevant dramatic references. Shows good grasp of the theme/task. EITHER: Candidate attempts to discuss the epic techniques and Epic philosophy. He/She refers to some techniques of Epic Theatre, but is vague about how these techniques are presented in the play. The candidate shows a good understanding of Epic Theatre and the themes of the play that has been studied. OR: Excellent analysis of Epic Theatre and the play that has been studied, but in the essay connection to the topic is by chance rather than by discussion of the essay topic. Often a short and generalised discussion of Epic techniques and themes.

27 Dramatic Arts 5 DBE/November 2012 NSC Memorandum Adequate achievement Moderate achievement Elementary achievement Structure not necessarily logical. Displays a basic understanding but tends towards mechanistic and stereotyped response at times. Adequate selection of relevant ''dramatic'' references. Adequate reading but feels memorised. Not always a high level of insight. Candidate is well prepared and can supply detail about epic techniques, epic themes in the play and the play that has been studied, but cannot apply it to the essay topic. Often the work looks like a repetition of notes that have been handed out in class and thus may seem fragmented. But the candidate has a solid knowledge of the content Not always organised, not logically constructed. Limited selection of information, poor language skills might be a contributing factor. Candidate lacks the ability to support his/her answer with suitable examples. Often vague and generalised examples. Little or no attempt to connect to the question. Sometimes merely narrating the plot. Candidate has knowledge of Epic techniques and the themes of the play that has been studied, but is inclined to write down everything he/she knows about Epic Theatre without connecting to the essay topic. Information is generally correct, but may be presented in a confused manner. It is inclined to be EITHER continuous writing (no paragraphs) OR short sentences that explain certain aspects of the content. Knows the content of the play that has been studied. 6 9 Rambling no structure, limited vocabulary, little attempt to present information in an acceptable manner, little effort made to present work in an acceptable manner. Very little information, jumbled, not easy to follow, often irrelevant. Candidate lacks the ability to support his/her answer with suitable examples. Candidate shows indication of knowledge of Epic techniques and some of the themes in the play that has been studied, but is inclined to write down short phrases about the characters and content of the play that has been studied or theory that has been learnt. Often incorrect information is also given (about another play/characters or another part of theatre history). The marker will have to search in the answer for correct information. Difficult to mark because at first glance it looks as if the whole answer is faulty. The candidate is inclined to write down the story of the plot or to supply short character sketches. Not achieved 0 5 Incoherent, very little work, limited skills. Irrelevant. Simple phrases or words written down that candidate has learnt but does not understand. Very vague and confused. The candidate's knowledge of epic techniques and the themes of the play is weak. Often incorrect information is given. Is inclined to write down a list of words, phrases and sentences in the order in which the candidate remembers it.

28 Dramatic Arts 6 DBE/November 2012 NSC Memorandum QUESTION 2: THEATRE OF THE ABSURD CANDIDATES ANSWERED THIS QUESTION IF THEY HAD STUDIED WAITING FOR GODOT OR THE BALD PRIMADONNA OR BAGASIE. CANDIDATES ANSWERED THIS QUESTION IF THEY HAD STUDIED WAITING FOR GODOT OR THE BALD PRIMADONNA OR BAGASIE. Markers should allow for well motivated answers that display unconventional and creative approaches. CATEGORY MARK LEVEL DESCRIPTORS (EVIDENCE) Outstanding Well organised, comprehensive and coherent, polished structure. achievement Supported by an exceptionally high level of competence to process information into original interpretation and thoughtful selection of facts. Uses a selection of relevant dramatic references. Insightful, fluent, observation and knowledge powerfully expressed. Candidate discusses the Absurdist genre by relating it to the statement. Candidate provides an excellent account of the philosophy of Absurdism. When Absurdist characteristics/ techniques, structure and dialogue are discussed, he/she supports their answer with relevant and specific examples from the playtext. The candidate is able to discuss how the unconventional techniques that are used in Absurd Theatre support the statement by giving specific examples from the text. The candidate shows an exceptional understanding of Meritorious achievement Substantial achievement OR Absurd Theatre and the play that has been studied Well organised, detailed and coherent, polished structure. Supported by a high level of competence and careful selection of facts to process information. Uses a selection of relevant dramatic references. Shows insight, observation and knowledge well expressed. This candidate has a similar level of knowledge of Absurd Theatre and the play that has been studied as the Outstanding candidate. The main difference is the ability to connect to the essay topic, to discuss the topic and to use language effectively. This candidate often overwrites by writing down correct but irrelevant information. Not as concise and sophisticated as the Outstanding candidate Organised, detailed, some level of competence, some slight flaws evident in structure. Interesting reading, clear statements, convincing, simple direct language. Supported by a selection of relevant dramatic references. Shows good grasp of the theme/task EITHER: Candidate attempts to discuss Absurdist philosophy. He/she refers to some features of Absurd Theatre, but is vague about how these features are presented in the play. The candidate shows a good understanding of Absurd Theatre and the play that has been studied. OR: Excellent analysis of Absurd Theatre and the play that has been studied, but in the essay connection to the topic is by chance rather than by a discussion of the essay topic. Often a short and generalised discussion of Absurd features, structure and dialogue.

29 Dramatic Arts 7 DBE/November 2012 NSC Memorandum Adequate achievement Moderate achievement Elementary achievement Structure not necessarily logical. Displays a basic understanding but tends towards mechanistic and stereotyped response at times. Adequate selection of relevant "dramatic" references. Adequate reading but feels memorised. Not always a high level of insight. Candidate is prepared well and can supply detail about Absurd Theatre and its techniques in the play that has been studied, but cannot apply it to the essay topic. Often the work looks like a repetition of notes that have been handed out in class and thus may seem fragmented. But the candidate has a solid knowledge of the content Not always organised, not logically constructed. Limited selection of information, poor language skills might be a contributing factor. Candidate lacks the ability to support his/her answer with suitable examples. Often vague and generalised examples Little or no attempt to connect to the question Sometimes merely narrating the plot Candidate has knowledge of Absurd Theatre, its techniques and the structure and dialogue used in the play that has been studied, but is inclined to write down everything he/she knows about Absurdism without connecting to the essay topic. Information is generally correct, but may be presented in a confused manner. It is inclined to be EITHER continuous writing (no paragraphs) OR short sentences that explain certain aspects of the content. Knows the content of the play that has been studied Rambling no structure, limited vocabulary, little attempt to present information in an acceptable manner, little effort made to present work in an acceptable manner. Very little information, jumbled, not easy to follow, often irrelevant. Candidate lacks the ability to support his/her answer with suitable examples. Candidate shows indication of knowledge of Absurd Theatre and the play that has been studied, but is inclined to write down short phrases about the features of Absurdism and the structure and dialogue of the play that has been studied or theory that has been learnt. Often incorrect information is also given (about another play/characters or another part of theatre history). The marker will have to search in the answer for correct information. Difficult to mark because at first glance it looks as if the whole answer is faulty. The candidate is inclined to write down the story of the plot or to supply short character sketches. Not achieved Incoherent, very little work, limited skills, in need of support. Irrelevant. Simple phrases or words written down that candidate has learnt but does not understand. Very vague and confused. The candidate s knowledge of Absurd Theatre, its features and the structure and dialogue of the play is weak. Often incorrect information is given. Is inclined to write down a list of words, phrases and sentences in the order in which the candidate remembers it. [30] TOTAL SECTION A: 30

30 Dramatic Arts 8 DBE/November 2012 NSC Memorandum SECTION B: UNDERSTAND AND ANALYSE QUESTION 3: BOESMAN AND LENA BY ATHOL FUGARD 3.1 Fugard has chosen English as his language of choice but has also used many Afrikaans words and phrases as this would reflect the realistic style of the play. It would represent the normal everyday conversations of the people living in the Swartkops whose lives the characters highlight. The colloquial language used also emphasises the lack of education, the poverty and the low status of the characters in the play. The play is also in English, because Fugard could reach a wider audience. The mixed language indicates the realistic context of the people in Swartkops, which is mixed race. Accept TWO points discussed in detail = 2 x 2 marks OR Four points briefly discussed = 4 x 1 (4) The police view Lena as a homeless, drunk coloured person whom they do not take seriously at all. The attitude to women prevalent at that time was very sexist and not very sympathetic. Most of the policemen at the time were white and were not very sympathetic to the complaints by drunks or non whites. Lena would also not be able to make a clear statement about what happened and the police would therefore regard it as a drunken 'brawl' which they would pass off lightly. It would not be taken seriously as there was a tendency to view it as a 'domestic' issue to be sorted out by the people involved. They would find it funny. They would tend to focus more on what Boesman said, that she was 'his woman' and that he was sorting her out 'net a bietjie warm gemaak.' Accept TWO points discussed in detail or four points briefly discussed. (4) Boesman makes light of his beating of Lena saying that he just warmed her up and that it was not serious. He says that she is his woman implying that he could do with her as he liked almost as if she were his possession, a commodity to be used and that he had a right to hit her. He is unafraid of being reported to the police as he says that the policemen are aware that this is the way coloured people treated their wives or girlfriends or the way drunken people behaved and that it was accepted 'they know how it is with our sort.' It is also obvious that Lena has reported Boesman before but no action has been taken against him so he acts with impunity. Boesman feels he can solve his problems with his fists and since Lena accepts his abuse as part of her life with Boesman, he does it over and over again. If the candidates include motivations and quotes from the play as a whole, markers should credit these as well; if motivated. Accept TWO points discussed in detail or four points briefly discussed. (4) A subjective answer is required. 1 mark to be given for yes it has changed or no it has not changed and 3 marks for the reasons. Markers cannot accept when candidates give both yes and no, but no suitable motivation for either. Yes. It has changed because there are now new laws and legislation in place protecting the rights of women. Domestic violence and abuse is seen as a serious offence and offenders can be sentenced to jail. Most policemen would be trained to treat this issue sensitively. We also have more female officers who would be more sympathetic and more sensitive in handling such issues. No. It has not changed. Police officers are still rude and insensitive. They do not view domestic violence as a serious issue because the crime rate is so high. Some officers still believe that the women deserve what they get and use the opportunity to humiliate women further. That is why most battered women remain silent. (4) 3.3 Lena does not leave Boesman because she is dependent on him for comfort, companionship and security. She has become accustomed to following him around it has become a habit. He is all the family that she has and she has no other support structure. There is just nowhere else that she could go. Furthermore she does remember the happier times and good memories which still tie her to Boesman. They love each other in a strange, dysfunctional kind of way. She is not empowered enough to leave him. When Boesman beats Lena it gives him a sense of power and meaning. Lena stays with Boesman because she needs validation and belonging. (3)

31 Dramatic Arts 9 DBE/November 2012 NSC Memorandum 3.4 Since no real set is required any stage type can be used proscenium arch, thrust stage, arena stage or flexible stage. The characters themselves are the setting and they carry their meagre possessions wherever they go. 1 mark can be awarded for the stage type and 2 for reasoning. (3) 3.5 Lena is definitely Boesman's victim. She is physically, verbally and emotionally abused by him. Physically He beats her all the time for little things such as dropping the empties. Verbally He insults her, demeans her and mocks her all the time. Emotionally He taunts her, trying to confuse her especially when she tries to get her bearings right and find out where she has been. He deliberately confuses her by saying the wrong things. Boesman talks with his fists when he is angry or frustrated. Lena also has to put up with Boesman's uncaring, unfeeling attitude. He ignores her complaints especially when they are walking for long distances. He ignores her questions and does not reply. So it appears as if she is speaking to herself most of the time. Boesman is society's victim. As a man he feels emasculated because he cannot provide the basic necessities for his family. He was once a strong vibrant person but years of being pushed around and shoved, drives him to alcohol causing him to become a drifter. The system failed Boesman in that it refused to allow him to have the dignity of having a place that he could call home. As a result the years of being hounded and forced to move from place to place have taken their toll on his life and he has become an angry, bitter man who loathes himself for his lost dreams and ambitions. He takes out his frustrations on the only person closest to him, Lena. He cannot get back at the whitemen and their bulldozers because they are stronger. So he expesses his frustrations through his tongue and fists. Society has failed Boesman and Lena because society has made them outcasts in their own land. Markers to mark holistically. MARKS 3.5 LEVEL DESCRIPTOR 7 8 Very good Candidate is able to answer clearly and directly referring to abuse as a theme in the play. He/She discusses the relationship between the two characters and the reasons for Lena staying in the relationship. The candidate focuses on the use of physical, mental and emotional abuse of Lena by Boesman. Also discusses abuse of Boesman by the apartheid system and why he takes his frustrations out on Lena. 4 6 Average Candidate explains abuse at a basic level and connects to characters (e.g. Boesman abuses Lena but Lena prefers to stay with him). And that Boesman is a victim of the white man. 0 3 Weak Candidate tends to make generalised statements about the plot of the play with simple, vague reference to how Lena is a victim of Boesman and how Boesman is a victim of society. (8) [30] QUESTION 4: unosilimela BY CREDO MUTWA 4.1 Fables, e.g. storyteller tells the fable of over years old where Queen Kimamereva (daughter of King Turunda) rules over AmaKhawayiki people in the mythical land of AmaRiri. Animal and the plant-world co-exists and/or lives the life of the human race, e.g. Queen Kimamereva rules over people and monsters that assume the characters of humans. The myth of creation. The myths add to the mystery of the supernatural and create the mood and atmosphere in the play. They enhance the episodic structure of the play with the storyteller being the link between the episodes. (Accept other relevant answers. Award 1 mark for myth and 3 marks for the explanation.) (4)

32 Dramatic Arts 10 DBE/November 2012 NSC Memorandum The storyteller 'fills in' the gaps in the play that the action doesn't show. The storyteller provides information and guidance to the audience. Because the storyteller is found in all the acting areas, even in performance spaces reserved for certain actors, he is able to provide information to the audience from a first-hand perspective. Each point is awarded ONE mark. (2) Any suitable answer that shows insight can be accepted. Answers could include: The storyteller should be dressed differently from the other characters with elaborate costume which is slightly oversized to give the illusion of being the 'Great One'. Special effects could be 'affixed' under the garment of the character of God so that it emanates smog/light underneath, thus giving the illusion of the supernatural and mystery. (2) Accept answers that are well substantiated. Candidates may choose any TWO attributes. The following is merely a guide. In order to present these lines effectively I would vary my volume. I will start off quite loudly in lines 1 2 just to gain the attention of the audience. I would lower the volume In lines 4 5 when talking about the king. Would become louder in last two lines when talking about the barren sangoma. My pace will be deliberate or slow to medium because I am telling a story and I want to draw the audience in. I will not rush the delivery of these lines because the meaning would be lost. (2 x 2) (4) 4.3 Any suitable answer that shows insight can be accepted. Award ONE mark for the prop and ONE mark for the motivation. Answers could include: Masks: the storyteller may use different masks to assume the roles of different characters (including that of God). Firewood, fire and/or 'smog machine': It can be lit within the Ithala/cave stage so that when the smoke comes out, it will give the illusion of the supernatural. Royal staff for King Magadlemzini to carry: This will make the audience to easily identify his character as that of a King. (3 x 2) (6) 4.4 Other suitable answers can be accepted. The following are examples: Award ONE mark for each reason. In indigenous African performances there are no clear distinctions between the actor and the audience. This kind of seating enables the actors and audience to mingle easily. It creates a close and intimate atmosphere between the actors and the audience. It draws the audience into the action of the play. (4) Accept any ONE of the following answers: It improves the view and allows easy access to performance spaces. The audience is able to identify the characters easily. The cosy and intimate atmosphere created allows the audience to engage with the actors and the action. (2) Accept any ONE of the following answers: Elaborate sets and the use of props are limited. This type of staging is not easy to transport from one venue to another. It may be expensive to take a set as big as this from one venue to the next. This type of staging demands a large performance space, thus limiting the areas the play may be taken to because many theatre houses do not have the luxury of space. Accept 4 points or 2 well substantiated points. (2) Award TWO marks for the special effect and TWO marks for the reason it would be used. A wind-machine to churn excessive wind. This will give the illusion that the place is different than the normal 'earthly stage'.