DRAMATIC ARTS
GRADE 12 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of FOUR sections:

   	Marks
   SECTION A: 20th Century Theatre Movements	(30)
   SECTION B: South African Theatre: 1960–1994	(40)
   SECTION C: South African Theatre: Post-1994	(40)
   SECTION D: Theatre History, Practical Concepts, Content and Skills	(40)

2. SECTION A:
   All candidates must answer the questions by referring to the play text  they have studied and its relevant 20th century theatre movement.
   • EPIC THEATRE 
     • Caucasian Chalk Circle Bertolt Brecht
     • Kaukasie 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
   • THEATRE OF THE ABSURD 
     • Waiting For Godot Samuel Beckett
     • Afspraak met Godot Translation of Samuel Beckett play text
     • Bagasie André P Brink
     • The Bald Prima Donna Eugeni Ionesco
     • Die Kaalkop Prima Donna Translation of Eugene Ionesco play text
   • POSTMODERN THEATRE
     • Skrapnel Willem Anker
     • Top Girls Carol Churchill
     • Popcorn Ben Elton
     • Buried Child Sam Shepard
3. SECTION B:
   SOUTH AFRICAN THEATRE (1960–1994)
   This section consists of THREE questions. Candidates must answer  only ONE question from this section.
   • QUESTION 2: Woza Albert! Percy Mtwa, Mbongeni Ngema and  Barney Simon
   • QUESTION 3: Sophiatown Junction Avenue Theatre  Company
   • QUESTION 4: Siener in die Suburbs PG du Plessis
4. SECTION C:
   SOUTH AFRICAN THEATRE (POST-1994)
   This section consists of TWO questions. Candidates must answer only  ONE question from this section.
   • QUESTION 5: Nothing but the Truth John Kani
   • QUESTION 6: Missing Reza de Wet
5. SECTION D:
   THEATRE HISTORY, PRACTICAL CONCEPTS, CONTENT AND SKILLS
   This section consists of FOUR questions. QUESTION 7 is  COMPULSORY.
   • QUESTION 7: The History of Theatre (COPMULSORY)
     Answer ONLY ONE of the following questions:
   • QUESTION 8: Vocal and Physical Work
   • QUESTION 9: Live Performance
   • QUESTION 10: Cultural Performances and Rituals
6. NOTE TO TEACHERS
   SECTION D may contain a different number of questions each year  depending on the aspects that are tested and the source material used.

QUESTIONS 

SECTION A: 20TH CENTURY THEATRE MOVEMENTS (-ISMS) 
This question is COMPULSORY. 
QUESTION 1: 20TH CENTURY THEATRE MOVEMENTS (-ISM) 
Answer this question by referring to the 20th century theatre movement and a play  text that you have studied. 
Read the following quote and answer the question that follows. 

Staging a 20th century theatre style production can be challenging. Write an essay in  which you discuss how you are going to stage a 20th century theatre style. 
Consider the following conventions in your response and use the play you have  studied as example: 

• Plot
• Characters
• Language
• Themes 

Your essay must demonstrate your knowledge of the theatre style that you have  studied and how it can be staged to fulfil its own conventions. 
Your essay must be 2–4 pages long. 

TOTAL SECTION A: 30

SECTION B: SOUTH AFRICAN THEATRE (1960–1994) 
Answer only ONE question from this section. 
QUESTION 2: WOZA ALBERT! BY BARNEY SIMONS, PERCY MTWA AND  MBONGENI NGEMA 
2.1 Read the following definition of the term ‘hybrid theatre’ as defined in tdf  Theatre Dictionary and answer the question that follows. 

2.1.1 Discuss any TWO international styles and its practitioners that are  evident in the play Woza Albert! (4) 
2.1.2 Explain how ONE of the above styles has been applied. Your  explanation must include examples from the play. (10) 
2.1.3 What are the socio-political issues that are addressed in the play?  Write at least THREE issues and give examples from the play. (6) 

2.2 Can the play Woza Albert be fit under the term ‘Protest Theatre’? Explain  your answer by referring to the themes of the play. (8) 
2.3 Answer the following questions: 

2.3.1 What are multi-functional props? (2) 
2.3.2 Identify how the play Woza Albert! uses the technique of multi functional props by referring to the events in the text. (6) 
2.3.3 Do you think the use of multi-functional props is effective for this kind  of play? Give reasons for your answers. (4)

[40] 

OR

QUESTION 3: SOPHIATOWN BY JUNCTION AVENUE THEATRE COMPANY 
3.1 What are the TWO differences between Community Theatre and Township  Theatre? (4) 
3.2 Is Sophiatown a community or township theatre example? Give at least  THREE reasons for your answer and use the play as reference. (9) 
3.3 Refer to the following image and answer the questions that follow.

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3.3.1 Which aspect of South African history is demonstrated in the above  image? (2) 
3.3.2 Name any other similar event that took place in South African history. (2) 

3.4 Discuss the internal conflict that is evident in Jake’s behaviour in the play.  Give examples from the play to support your answer. (5) 
3.5 Can Sophiatown be staged using the Poor Theatre style of presentation?  Support your answer by referring to the play. (10) 
3.6 How does the character of Lulu support the theme of education in the play? (4) 
3.7 Is it necessary to produce productions like Sophiatown in the new South  Africa? Give reasons to support your opinion. (4)

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OR

QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS 
4.1 Write a brief exposition to the play Siener in die Suburbs. (5) 
4.2 Explain the term “archetype characters”. Identify at least TWO examples from  the play. (5) 
4.3 Can Siener in die Suburb be staged on a traverse stage? Support your  answer with reasons in context. (5) 
4.4 Discuss the conflict between Giel and Tjokkie in the play. Consider what each  character think of the other and how that influences the plot of the play. (8) 
4.5 How would you dress the character of Timmie in order to fit with her  circumstances in the plot of Siener in die Suburbs? (5) 
4.6 Write notes to advise an actor to play the character of Jakes. Your notes  must guide an actor on how to achieve successful characterisation and a full  execution. (12)

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TOTAL SECTION B: 40

SECTION C: SOUTH AFRICAN THEATRE POST-1994 
QUESTION 5: NOTHING BUT THE TRUTH BY JOHN KANI 
5.1 Which event in the plot of Nothing but the Truth serves as the inciting incident  of the play? Give reasons for your answer. (5) 
5.2 Consider the following statement and answer the questions that follow. 

5.2.1 What is a box-set? (2) 
5.2.2 Discuss the above statement to prove that indeed Nothing but the  Truth’s setting resembles a typical box-set. (6) 

5.3 Write a brief paragraph in which you discuss the internal conflict suffered by  the character of Thando in the play. (6) 
5.4 What difference do you think the play would have made if the character of  Themba was alive and had come back with Mandisa to show her where he  was brought up? Think about the plot and the themes of the play. (9) 
5.5 Write director’s notes to your actors on how to portray any scene from the play  Nothing but the Truth. The scene must involve all the characters from the  play. Your notes must be precise and a demonstration of acting styles and  directorial skills. (12)

Related Items

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OR

QUESTION 6: MISSING BY REZA DE WET 
6.1 Is Poor Theatre a suitable style to use for the presentation of the play  Missing? Consider setting and the use of props in your answer. (10) 
6.2 Consider the following lyrics from a song It’s a Man’s World by James Brown  and answer the questions that follow: 

6.2.1 What was the role of women in society during the time of this play?  Give examples from the play to justify your answer. (8) 
6.2.2 How does the character of Constable bring ‘a false sense of security’  in the plot of Missing? (6) 
6.2.3 Consider the above lyrics and discuss and explain the relevant theme  that it supports in the play Missing. Refer to the events in the play to  support your discussion. (8) 

6.3 If you had to direct Missing, advise an actress regarding how to successfully  characterise for the role of Gertie. Stay in context to the play in your answer. (8)

[40] 
TOTAL SECTION C: 40 

OR

SECTION D: THEATRE HISTORY, PRACTICALCONCEPTS, CONTENT AND  SKILLS 
QUESTION 7 is COMPULSORY. 
QUESTION 7: THEATRE HISTORY 
7.1 Discuss TWO differences between realistic and poor theatre staging. (4)
7.2 Answer the following questions. 

7.2.1 Who is the father of modern Realist Theatre? (1)
7.2.2 Briefly explain what you understand about Realist Theatre. (3)

7.3 Consider the following statement: 

Which theatre making technique, do you think these practitioners use to  create a production? Discuss the process. (6) 
7.4 What is the value of Dramatic Arts to a community? Write your opinion and  support your statement with enough reasons. (6)

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Answer only ONE question from the following: 
QUESTION 8: VOCAL AND PHYSICAL WORK 
8.1 What are some of the disadvantages of an actor who does not project their  voice during a performance? Write at least TWO reasons. (4) 
8.2 Discuss the things that an actor needs to consider in order to achieve a spot on vocal characterisation. (6) 
8.3 Consider the following quote taken from Building a Character by Constantin  Stanislavski (1863–1938): 

8.3.1 What is your understanding of the term ‘external characterisation?  Give an example. (4) 
8.3.2 What are the things that an actor needs to consider in order for them  to achieve an accurate physical characterisation? (6)

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OR 

QUESTION 9: LIVE PERFORMANCE 
9.1 Which performance media do you prefer between live performance and  television? Explain your choice. (6) 
9.2 Why is energy an important aspect of live performance? (4) 
9.3 Discuss the process that you and your group followed in the creation of your  theme program. Your discussion must demonstrate the actual process from  the beginning until the day of performance. (10)

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OR

QUESTION 10: RITUALS AND CULTURAL PERFORMANCES 
Consider the following information and answer the questions that follows: 

10.1 Name FIVE elements of drama. (5) 
10.2 Think of any African myth and use the elements that you mentioned in  QUESTION 10.1 to analyse the story. 

Write the title of the myth at the top, then write an element of drama and  discuss it in reference to the myth. 
For example: 
Mugambi, the tree of life 
Character: Mugambi, The children, 
Setting: The imagination, any place with a tree under which children  play…etc. 

Your writing, unlike in the example, must contain more details and be considerate of the mark allocation. (15)

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TOTAL SECTION D: 40 
GRAND TOTAL: 150