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Dramatic Arts Paper 2019
SECTION A: 20th CENTURY THEATRE MOVEMENTS
This question is COMPULSORY.
QUESTION 1
Refer to SOURCE A below and answer the question that follows.
SOURCE A
Discuss, in an essay, how the statement in SOURCE A is explored in the play text and the 20th Century Theatre Movement you have studied, as well as its relevance to our lives in the 21st century.
Refer to the following in your essay:
- Examples of questions raised by the playwright in the play text about the sociopolitical context, life and humanity
- Themes, characters or language in the play text that support your discussion
- The 20th Century Theatre Movement you studied (Theatre of the Absurd OR Epic Theatre OR Postmodern Theatre) and the questions it raised
Write the name of the play text and the 20th Century Theatre Movement you studied at the beginning of your essay.
TOTAL SECTION A: 30
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
Theatre is a living, breathing, collaborative (working together) art form. To me, that means that every production is different, depending on who’s working on it. And it changes, depending on the audience in the room. This is what makes theatre powerful and memorable. [Source: American Theatre, 22 May 2017] |
Imagine you are a director. After reading the quote in SOURCE B, you are inspired to stage scene extracts from the play text of Woza Albert! for a local school’s play festival which will take place in July 2020.
2.1. With reference to Woza Albert!, suggest why theatre can be viewed as a ‘collaborative (working together) art form’. (4)
2.2. Explain why you think Woza Albert! may be a good choice for a schools’ play festival. (4)
2.3. List and motivate the performance skills you will require from the actors who audition for the production. (6)
2.4. Focus on ONE scene in the play text.
Explain to the actors that you have cast in your production, what the appropriate style of acting will be to perform the scene you have selected. (4)
2.5. Evaluate how any TWO incidents in the play may cause different responses depending on different audiences’ experiences. (8)
2.6. Suggest to the festival organizers how the performance space may be used creatively to highlight the style of the play. (4)
2.7. Discuss how you would direct the ending of the play to create a ‘powerful and memorable’ moment for the audience at the festival. Name specific production and performance elements in your answer. (10)
[40]
QUESTION 3: SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY
Study SOURCE C below and answer the questions that follow.
SOURCE C
Theatre is a living, breathing, collaborative (working together) art form. To me, that means that every production is different, depending on who’s working on it. And it changes, depending on the audience in the room. This is what makes theatre powerful and memorable. [Source: American Theatre, 22 May 2017] |
Imagine that you are a director. After reading the quote in SOURCE C, you are inspired to stage scene extracts from Sophiatown for a local school’s play festival which will take place in July 2020.
3.1. With reference to Sophiatown, suggest why theatre can be viewed as a ‘collaborative (working together) art form’. (4)
3.2. Explain why you think Sophiatown may be a good choice for a schools’ play festival. (4)
3.3. List and motivate the performance skills you will require from the actors who audition for the production. (6)
3.4. Select ONE scene in the play.
Explain to the actors that you have cast in your production, what the appropriate style of acting will be to perform the scene you have selected. (4)
3.5. Evaluate how any TWO incidents in the play may evoke (cause) different responses depending on different audiences’ experiences. (8)
3.6. Suggest to the festival organizers how the performance space may be used creatively to highlight the style of the play. (4)
3.7. Discuss how you would direct the ending of the play to create a ‘powerful and memorable’ moment for the audience at the festival. Name specific production and performance elements in your answer. (10)
[40]
QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS
Study SOURCE D below and answer the questions that follow.
SOURCE D
Theatre is a living, breathing, collaborative (working together) art form. To me, that means that every production is different, depending on who’s working on it. And it changes, depending on the audience in the room. This is what makes theatre powerful and memorable. [Source: American Theatre, 22 May 2017] |
Imagine that you are a director. After reading the quote in SOURCE D, you are inspired to stage scene extracts from Siener in die Suburbs for a local school’s play festival which will take place in July 2020.
4.1. With reference to Siener in die Suburbs, suggest why theatre can be viewed as a ‘collaborative (working together) art form’. (4)
4.2. Explain why you think Siener in die Suburbs may be a good choice for a schools’ play festival. (4)
4.3. List and motivate the performance skills you will need from the actors who audition for the production. (6)
4.4. Select ONE scene in the play.
Explain to the actors that you have cast in your production, what the appropriate style of acting will be to perform the scene you have selected. (4)
4.5. Evaluate how any TWO incidents in the play might evoke (cause) different responses depending on different audiences’ experiences. (8)
4.6. Suggest to the festival organizers how the performance space may be used creatively to highlight the style of the play. (4)
4.7. Discuss how you would direct the ending of the play to create a ‘powerful and memorable’ moment for the audience at the festival. Name specific production and performance elements in your answer. (10)
[40]
TOTAL SECTION B: 40
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
Your class recently attended a production of Nothing but the Truth at your local theatre. You received a copy of the theatre programme in SOURCE E.
5.1. Give a definition of the following terms used in the programme:
- Synopsis (1)
- Cast (1)
- Script (1)
- Director (1)
5.2. Refer to the synopsis in the programme note in SOURCE E.
Motivate whether or not you agree with the description of the Makhaya family as ‘a family in crisis’.
Refer to the characters in your answer. (6)
5.3. Suggest why the play is described as Realism with reference to its costumes and subject matter. (6)
5.4. Explain how any of the actors in the cast might use FOUR techniques of Stanislavski’s System/Method to create a ‘truthful and sincere’ performance.
Refer to examples or moments in the play to substantiate your answer. (8)
5.5. Evaluate why the set and performance space depicted in the image on the programme are suitable for a production of the play. (6)
5.6. Discuss why Nothing but the Truth is an effective title for the play. Refer to incidents and characters in the play. (10)
[40]
QUESTION 6: GROUNDSWELL BY IAN BRUCE
Study SOURCE F below and answer the questions that follow.
SOURCE F
Your class recently attended a production of Groundswell at your local theatre. You received a copy of the theatre programme in SOURCE F.
6.1. Give a definition of the following terms used in the programme:
- Synopsis (1)
- Cast (1)
- Script (1)
- Director (1)
6.2. Refer to the synopsis in the programme note in SOURCE F.
Motivate whether or not you agree with the description of the ‘three men … caught in a power struggle’.
Refer to the characters in your answer. (6)
6.3. Suggest why the play is described as Realism with reference to its costumes and subject matter. (6)
6.4. Explain how any of the actors in the cast might use FOUR techniques of Stanislavski’s System/Method to create a ‘truthful and sincere’ performance.
Refer to examples or moments from the play to substantiate your answer. (8)
6.5. Evaluate why the set and performance space depicted in the image on the programme are suitable for a production of the play. (6)
6.6. Discuss why Groundswell is an effective title for the play. Refer to characters and events in the play. (10)
[40]
QUESTION 7: MISSING BY REZA DE WET
Study SOURCE G below and answer the questions that follow.
SOURCE G
Your class recently attended a production of Missing at your local theatre. You received a copy of the theatre programme in SOURCE G.
7.1. Give a definition of the following terms used in the programme:
- Synopsis
- Cast
- Script
- Director
7.2. Refer to the synopsis in the programme note in SOURCE G.
Motivate whether or not you agree with the description of the family as ‘dysfunctional’.
Refer to the characters in your answer. (6)
7.3. Suggest why the play is described as Realism with reference to its costumes and subject matter. (6)
7.4. Explain how any of the actors in the cast might use FOUR techniques of Stanislavski’s System/Method to create a ‘truthful and sincere’ performance.
Refer to examples or moments from the play to substantiate your answer. (8)
7.5. Evaluate why the set and performance space depicted in the image on the programme are suitable for a production of the play. (6)
7.6. Discuss why Missing is an effective title for the play. Refer to the various interpretations of the word ‘missing’ and the themes. (10)
[40]
TOTAL SECTION C: 40
SECTION D: THE HISTORY OF THEATRE, PRACTICAL CONCEPTS, CONTENT AND SKILLS
Answer either QUESTION 8 or QUESTION 9.
QUESTION 8: AUDITION PROGRAMME OR THEME PROGRAMME
You have completed your final performance examinations (audition programme OR theme programme).
Advise the Grade 12 Dramatic Arts learners of next year on how to plan for successful performance examinations.
8.1. List FOUR factors to consider when selecting dramatic items (pieces) for a performance. (4)
8.2. Suggest TWO benefits of regular rehearsals. (2)
8.3. Analyse TWO challenges of working in a group. (4)
8.4. Provide practical tips that would assist next year’s Grade 12 learners to prepare for the day of their final practical examinations to ensure a successful performance. (6)
8.5. Discuss how the principles of the theatre practitioner, Jerzy Grotowski, influenced your understanding and experience of practical work. Give examples to support your answer. (8)
8.6. There are a number of innovative forms of entertainment available today. These include YouTube videos, Street Theatre, computer games, films (on TV/Netflix or in the cinema), etc.
Choose any ONE of these forms that appeals to you and comment on the effectiveness of the dramatic skills and techniques used. (8)
8.7. Discuss the challenges some learners may experience in accessing drama and theatre productions, and how the availability of technology (cellphones, smartphones, the internet, etc.) can help to overcome these challenges to ensure that everyone can view drama productions. (8)
[40]
OR
QUESTION 9: TECHNICAL THEATRE PROGRAMME
You have completed your final technical theatre programme examinations (set design OR stage management OR film OR directing).
Advise the Grade 12 Dramatic Arts learners of next year on how to plan for a successful technical theatre programme.
9.1. List FOUR factors to consider when selecting one of the technical theatre programme options for your final practical examinations. (4)
9.2. Suggest TWO benefits of regular rehearsals. (2)
9.3. Analyse TWO challenges of working with others. (4)
9.4. Provide practical tips that would assist next year’s Grade 12 learners to prepare for the day of their final practical examination performance/ screening or presentation. (6)
9.5. Discuss how the analysis of the *given circumstances of the performance/film assisted your understanding of the visual world created on stage OR in film. Give examples to support your answer.
*Given circumstances are the season, geographical environment, dramatic situations of characters, date, time, etc. of a dramatic item/play text. (8)
9.6. There are a number of innovative forms of entertainment available today. These include YouTube videos, Street Theatre, computer games, films (on TV/Netflix or in the cinema), etc.
Choose any ONE of these forms that appeals to you and comment on the effectiveness of the technical skills and techniques used. (8)
9.7. Discuss the challenges some learners may experience in accessing drama and theatre productions, and how the availability of technology (cellphones, smartphones, the internet, etc.) can help to overcome these challenges to ensure that everyone can view drama productions. (8)
[40]
TOTAL SECTION D: 40
GRAND TOTAL: 150