NATIONAL SENIOR CERTIFICATE GRADE 11

NATIONAL SENIOR CERTIFICATE GRADE 11 DRAMATIC ARTS NOVEMBER 2007 MARKS: 150 TIME: 3 hours This question paper consists of 14 pages.

Dramatic Arts 2 INSTRUCTIONS AND INFORMATION 1. 2. 3. You have been allocated TEN minutes reading time. This question paper consists of NINE questions. Answer only THREE of the following nine questions: QUESTION 1: REALISM QUESTION 2: SOUTH AFRICAN THEATRE QUESTION 3: INDIGENOUS THEATRE QUESTION 4: JAPANESE THEATRE QUESTION 5: CHINESE THEATRE QUESTION 6: MEDIA STUDIES QUESTION 7: FRENCH CLASSICAL THEATRE QUESTION 8: ELIZABETHAN THEATRE QUESTION 9: AMERICAN THEATRE 4. 5. 6. 7. Number the answers correctly according to the numbering system used in this question paper. Pay attention to the number of marks allocated to each question. While classroom knowledge can be used to answer questions, independent, creative thinking, and the use of skills, knowledge and attitudes will be to your advantage. Write neatly and legibly.

Dramatic Arts 3 QUESTION 1: REALISM 1.1 Indicate whether the following statements are TRUE or FALSE. Write 'true' or 'false' next to the question number (1.1.1 1.1.5) in the answer book. If the statement is FALSE, write the correct statement. 1.1.1 1.1.2 1.1.3 1.1.4 1.1.5 Stanislavski used the term emotional memory to describe an actor remembering his own life experiences to help create a believable character performance. Realism was a theatrical movement that showed scene changes and exposed the lights to remind the audience they were watching a play. Social problems is a common theme in realistic plays. Realists presented a slice of performance on stage. Most realist playwrights ignored the psychological motivation of the characters and simply presented them as superficial and onedimensional. (10) 1.2 Realistic theatre resembles life so closely that one assumes it must be life. Edwin Wilson Discuss to what extent the realist play (or the play containing realist elements) you have studied this year 'resembles life so closely'. In your essay, justify your answer by making reference to the following: The playwright's intention Characters and dialogue Themes Plot Staging Your essay should be 2 3 pages long (± 300 words). (30) 1.3 There are two aspects to the technique of Stanislavski's system: one inner where the mind and imagination create the thoughts and feelings of the character; the other outer where the body expresses and communicates what is going on inside. Jean Beneditti Choose ONE character from the realist play (or the play containing realist elements) you have studied. Describe THREE ways in which you would go about preparing for a performance of that character, using both inner and outer aspects of Stanislavski's system. (10)

Dramatic Arts 4 QUESTION 2: SOUTH AFRICAN THEATRE Read the following extract from The Coat by Athol Fugard and then answer the questions that follow: Lavrenti: Marie: Lavrenti: Marie: Lavrenti: Marie: Lavrenti: Marie: Aniko: Marie: Aniko: Marie: (Coming forward) What sort of coat was it? Oh, just an old coat, a man's sports coat. Torn? I don't think it was torn. It might have had patches, but it wasn't torn. So it was worth something. Certainly. One rand, one rand fifty. Something like that. (To the audience) Those were our facts. The first thing we did was to improvise the little scene where the coat was handed over. We wanted to see it, that moment, when it passed from the hands of a stranger to the wife, because that is when the coat starts to live again, where it comes back into our lives. Aniko will take the part of the wife. So then here it is: The scene in which the wife gets back her husband's coat. (Lavrenti sits down. Aniko joins Marie.) Hello, Mama. Hello my child. How are you Mama? I am alright my child. I am alright. How are you? Carrying on Mama. Trying to carry on. These are hard times. 1 5 10 15 2.1 2.2 2.3 2.4 2.5 Workshopping was a popular method of creating plays during the apartheid era. What is your understanding of the term workshopping? Give TWO reasons why workshopping was such a popular method of creating plays. Lavrenti in the above extract in lines 7 12 describes the process of workshopping a play. Explain the observation, improvisation and selection process in creating a play. Name TWO examples of workshopped plays. A workshopped play is a result of collaboration between a group of people rather than the effort of a single playwright. What are the advantages of this method? (4) (4) (6) (2) (5)

Dramatic Arts 5 2.6 Compare Marie's tone and volume in line 4 (where she is just herself, the actor) and line 18 (where she plays the character). (4) 2.7 2.8 2.9 Explain the gestures and facial expressions that an actor playing Lavrenti might use when speaking lines 7 12. South African playwrights and creators of plays often target hard-hitting political, social and economic issues and aim to expose the injustices of society. By referring to the South African text that you have studied this year, discuss how the playwright highlights any political, social or economic issues prevalent in society. Characters in South African plays can either be realistic, fully developed characters or merely stereotypes. (6) (10) 2.9.1 2.9.2 Indicate whether the characters in the play you have studied were realistic or stereotypes. Give reasons for your answer. Choose ONE character from the play you have studied and briefly discuss the role and function of this character or stereotype. (3) (6)

Dramatic Arts 6 QUESTION 3: INDIGENOUS THEATRE 3.1 Self-fortification as a sacred ceremony is a part of all indigenous African communities. For the execution of this ceremony, all African communities make use of the same type of principles and elements in the space selected for the ceremony to take place. This space is called the Performance Area. See the diagram below. Apply your knowledge and experience of self-fortification ceremonies and answer the following questions: SACRED CEREMONY PERFORMANCE SPACE Entrance used mainly by the members of the royal family Male performance Sacred enclosure and acting area for main performer Entrance/Exit for male and female performers Entrance/Exit for male and female performers 1. Male Acting Area 2. Femal Acting Area 3. Security Personnel 4. Undisclosed Royal Security Personnel Main entrance for male performers Phil Manana Productions 2006 3.1.1 During self-fortification, a ceremony is performed within the cattlebyre of a community. What is the specific name given to this self-fortification ceremony in any community you know? (1) 3.1.2 A sacred enclosure plays a prominent role during the performance. (a) (b) Give ONE function of any sacred enclosure. Name the enclosure. (c) Name the ceremony. (3)

Dramatic Arts 7 3.1.3 When a member of the community has broken the law and severe punishment must be given, what will be the function of the sacred enclosure? (2) 3.1.4 Give ONE reason why a self-fortification ceremony needs a large enough space. (2) 3.1.5 Name FOUR props used in any sacred ceremony. What is the ceremony that you focused on, called? (4) 3.1.6 Draw a graph that indicates the turning points, climax and resolution of the sacred self-fortification ceremony in QUESTION 3.1.5. (10) 3.1.7 The theatrical performance of all self-fortification ceremonies has a mythical structure. Discuss the following to show the purpose of the structural elements: Language usage Characterisation Staging techniques Entrances and exits Acting areas (10) 3.2 Self-fortification ceremonies compare well with the trials, tribulations and triumphs of the Biblical Moses. Discuss this statement in a short paragraph. (10) 3.3 Name and comment on the FOUR stages of self-fortification. (8)

Dramatic Arts 8 QUESTION 4: JAPANESE THEATRE Answer EITHER QUESTION 4.1: Noh Theatre OR QUESTION 4.2: Kabuki Theatre. 4.1 'Noh takes life and reduces it to ritual.' R Teele Discuss the Noh Japanese Classical Theatre as a deeply felt ceremony in the Japanese community in a carefully written, concise essay of 2 to 3 pages. Refer to the following in your essay: The origins of Noh Theatre Actor training Style of acting (both physical/movement and vocal/voice) Staging and set Ceremonial aspect (50) OR 4.2 'The fundamental theme of Kabuki is the conflict between the common people and the feudal system.' Ciro et al. Discuss the Kabuki Theatre in a carefully written, concise essay of 2 to 3 pages. Refer to the following in your essay: The origins of Kabuki Theatre Actor training Style of acting (both physical/movement and vocal/voice) Staging and set Political and social context (50) QUESTION 5: CHINESE THEATRE The actor is the focal point of Chinese Theatre. In an essay of 2 to 3 pages, discuss the validity of the statement above by explaining the role of the actor in Chinese Theatre and how he is supported by the following: Staging and set Music Costume Make-up Style of acting (both physical and vocal)

Dramatic Arts 9 QUESTION 6: MEDIA STUDIES 6.1 Actors wishing to work in the film industry need to understand the shorthand used in scripts. Explain what is meant by the following shorthand: 6.1.1 6.1.2 6.1.3 6.1.4 6.1.5 POV ECU FVO SFX LS (5)

Dramatic Arts 10 6.2 The anti-gun society of South Africa is filming a documentary about the dangers of unlicensed guns. The following film shot is of an unlicensed hunter who has killed illegally on a farmer's land. This image is of the angles from which the camera may shoot a subject. Label the different angles and give a brief description of EACH. 6.2.1 6.2.2 6.2.3 6.2.4 6.2.5 6.2.6 6.3 6.3.1 Give the title of the film you have studied this year. (6 x 2) (12) (1) 6.3.2 6.3.3 6.3.4 6.3.5 Comment on how this film could relate to the socio-political context of South Africa. Describe ONE character that you found interesting. Who, in your opinion, is the target audience of this film? Give reasons for your answer. What was your response to this film? Motivate your answer. (6) (5) (5) (4) 6.4 Write an account of how an actor would prepare for a role in film or television. Consider the following in your answer: Script Character Dialogue (4 x 3) (12)

Dramatic Arts 11 QUESTION 7: FRENCH CLASSICAL THEATRE 7.1 It is the year 1550. You are a young actor who has been part of a performance in the theatre of the Hotel de Bourgogne. 7.1.1 7.1.2 Would you say that the Hotel Bourgogne is a proscenium arch theatre? Motivate your answer in QUESTION 7.1.1 by describing the theatre structure, as well as the technical resources that were used. (1) (7) 7.2 In 1680, Louis XIV gave the Comédie Française the right to perform all spoken drama in France. 7.2.1 7.2.2 Discuss how this company was managed and organised. If you were a modern-day theatre manager, would you organise and manage your theatre in the same way as it was done at the Comédie Française? Motivate your answer in a short paragraph. (7) (5) 7.3 Imagine that a play of the French Classical playwright that you have studied this year will be performed at your local theatre. You must write an article about the play for your school newspaper. Discuss the French Classical principles reflected in the play. Your article has to be 1 to 2 pages in length. Refer to at least FIVE of the following: Verisimilitude Purity of dramatic types The five-act form Decorum The purpose of drama The three unities (30)

Dramatic Arts 12 QUESTION 8: ELIZABETHAN THEATRE 8.1 Read the extract below from Romeo and Juliet by William Shakespeare where Mercutio and Tybalt are on opposite sides and involved in a street fight. Romeo is trying to keep the peace. Answer the questions that follow. Tybalt: Mercutio: What wouldst thou have with me? Good king of cats, nothing but one of your nine lives; that I mean to make bold withal, and as you shall use me hereafter, dry beat the rest of the eight. Will you pluck your sword out of his pilcher by the ears? Make haste, lest mine be about your ears ere it be out. 1 5 Tybalt: I am for you. [drawing] Romeo: Mercutio: Romeo: Gentle Mercutio, put thy rapier up. Come sir, your passado. (a fencing technique) [they fight] Draw, Benvolio; beat down their weapons. 10 [Tybalt under Romeo's arm thrusts Mercutio, and flies] [Romeo and Juliet, Act 3, Scene 1 by William Shakespeare] 8.1.1 Discuss the skills required of an Elizabethan actor to successfully perform the above extract. In your answer refer to the following: Physical (movement) skills the actor needs Demands of Shakespeare's language (structure, use of imagery, devices for dramatic effect) The actor's vocal (voice) ability (3 x 3) (9) 8.1.2 You are directing the above extract at your school. You have to place the scene in a modern context. Give a short description of how you would direct the scene, using your own artistic interpretation. Refer to the following in your answer: Performance space Use of costumes and props Use of improvisation to develop the scene (3 x 3) (9)

Dramatic Arts 13 8.2 Imagine that you are an audience member who has been visiting the theatre regularly. You have attended theatre performances during the late 1500s and early 1600s in the public theatres, such as the Globe Theatre, and private theatres, such as the Blackfriar's Theatre. Discuss the differences that you have observed between the two types of theatres in terms of the following: 8.2.1 8.2.2 8.2.3 8.2.4 Audience and atmosphere Time of performances The building structure Technical theatre aspects (4) (2) (2) (2) 8.3 Suppose a young person was interested in a career in the theatre during the Elizabethan period. 8.3.1 8.3.2 What possible career paths would be available to him/her? Where would he/she go to seek training and employment? (5) (4) 8.4 What career options are available today for people interested in the theatre as a career? (6) 8.5 Today Shakespeare's plays are still performed in their traditional form or in an adapted form, such as a film. 8.5.1 8.5.2 Do you think Shakespeare's plays are still relevant for audiences today? Justify your answer in a short paragraph. Give TWO examples of modern adaptations of Shakespeare's plays as viewed by audiences today. (5) (2)

Dramatic Arts 14 QUESTION 9: AMERICAN THEATRE 9.1 9.2 9.3 Name the title of the American play that you have studied this year. Who was the playwright? Theatrical realism is the term given to many American plays. (1) (1) 9.3.1 9.3.2 Explain your understanding of the term theatrical realism. Give TWO examples of non-realistic theatrical devices and techniques used in the American play that you have studied. Also discuss the effectiveness of EACH. (2 x 4) (4) (8) 9.4 Suggest FOUR ways in which the American play you have studied could be adapted to have relevance for South African audiences today. Motivate your answer. (12) 9.5 Imagine that you are to perform as ONE of the characters from the American play that you have studied. Choose a character you are familiar with and feel you can create as a three-dimensional person on stage. 9.5.1 9.5.2 9.5.3 9.5.4 Give the name of the character you are going to perform. Briefly describe the appearance of the character. Describe the past history and the personality of the character. What steps would you take to ensure that your performance effectively depicts the character on the stage? In your answer refer to the following: Physical (movement/body) presentation Vocal (voice) qualities of character (1) (3) (4) (8) 9.6 One of the career opportunities open to a Dramatic Arts learner is that of an actor/actress. Write a paragraph discussing the positive and negative aspects of acting as a career in South Africa today. (8) TOTAL: 150