DRAMATIC ARTS
GRADE 12 
AMENDED SCE PAST PAPERS AND MEMOS
MAY/JUNE 2018

GENERAL NOTES FOR THE CHIEF MARKER AND MARKERS 

1. The purpose of assessment/examination processes is not only to determine the  'remembering' of knowledge taught and learnt at each of the 6 cognitive levels of  knowledge, but also to determine the complexity of the thinking process the  candidate applies to the knowledge retrieved from memory. The tool to assess  these two components is Anderson and Krathwohl's revised Blooms' Taxonomy.
   • 6 cognitive levels of difficulty
   • 4 thinking processes of complexity
2. The marking guideline discussion forum, before marking commences, cannot  sufficiently predict all responses. Provincial markers need to take this into account,  be open to candidates' responses and make sure that different teaching styles do  not disadvantage the learner/candidate.
3. Spend the first day to unpack the quality and quantity of the evidence in the  marking guidelines, standardise required responses and find common definitions  and concepts. Assimilate the
   • Expected responses for each question 
   • The cognitive level of difficulty required from the candidate
   • The type of thinking process and complexity of thinking required from the  candidate
   • Action verbs used at each of the cognitive levels and the type of evidence  required (facts, concepts, processes and thinking). 
   • Refer to the annexures at the end of the marking guidelines 
4. If the marking guidelines do not give clear guidance, a marker must indicate, with  a short comment, why marks were awarded or not. 
5. Tick clearly next to the required cognitive level/thinking process of complexity/  concept/content/skills/knowledge aspects required when a mark is awarded.  Markers should engage actively with the answer.
   • Refer to rubrics in the annexure at the end of the marking guidelines 
6.  During the marking process, have regular rounds of consultation to ensure marking  is standardised.
7. Where a candidate writes more than the suggested number of words, do not  penalise (e.g. essay question).
8. Mark globally where possible. Markers accept any correct, relevant and well motivated answers.
9. Markers must check that candidates' responses align with the Curriculum  Assessment Policy Statement's Broad Topics and Topics, Content (concepts, skills  and knowledge).

MEMORANDUM 

Rating of Essay and Response Questions 
The chief marker in each province must clarify the paradigm from which the questions  and the accompanying marking guidelines were designed and set: 

1. Item difficulty: 
   How complex is the design of the question? 
2. Task difficulty: 
   What is the cognitive level and thinking process required from the candidate? 
3. Stimulus difficulty: 
   How difficult or easy is it to understand and apply the source?
4. Expected response difficulty: 
   What is the quantity (how much) and quality (how well) of the expected response,  required from the candidate, as provided in the marking guidelines? 
   Does it align with the item, task and stimulus?
   Are the marks appropriately weighted and allocated? 

–Leong: 2002 

In the training of markers at the beginning of the marking process, the chief marker in  each province should follow the following procedure. This will assist with the  standardisation of the scoring of candidate's essays and responses for each part of the  examination. It will also standardise national marking procedures, processes and  results. 
Introduction to the Task 

• Raters read the task required from the Item and summarise it. 
• Raters read the Item and plan a response to the task. 
• Raters share response plans and summarise expectations for student  responses/share not just the quantity of evidence (how much) but the quality of  evidence (How well). 

Introduction to the Rubric and Anchor Papers 

• Trainer reviews rubric with reference to the task. 
• Trainer reviews procedures for assigning holistic scores (i.e., by matching  evidence from the response to the language of the rubric and by weighing all  qualities equally). 
• Trainer leads review of each anchor paper and commentary. (NOTE: Anchor  papers are ordered from high to low within each score level.) 

Practise Scoring Individually 

• Raters score a set of practice papers individually. Raters should score the papers  independently. 
• Trainer records scores and leads discussion. (Practice papers should contain  scores and commentaries.)

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 its 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) which is COMPULSORY.

SECTION A: 20th CENTURY THEATRE MOVEMENTS 
QUESTION 1 

The following is a guide: 
The candidate must: 

• Answer this question in the form of an essay 
• Use the play text he/she has studied as an example 
• Refer to either one of the three movements: Theatre of the Absurd OR Epic Theatre OR Postmodern Theatre in  their answer 
• Refer to the Source in their answer 
• Demonstrate the question and source have been analysed, understood and integrated in their essay 

The content of the essay must cover the following: 

1. ONE selected Theatre Movement: 
   •  Theatre of the Absurd OR 
   •  Epic Theatre OR 
   • Postmodern Theatre
2. Play text studied
3. Question
4. Source 

Markers note: 

• Candidate must demonstrate that the above has been understood and critically analysed and applied in the essay 
• Rote learnt knowledge must be contextualised in an original argument that displays factual, contextual, procedural  and meta-cognitive thinking 
• The rubric on the next page is a guide to the marker to assess the: 
  • Levels of cognitive process dimension (remembering, understanding, applying, analysing, evaluating and  creating) 
  • Complexities of thinking displayed by the candidate (factual, conceptual, procedural, metacognitive) 
• Responses may be in the form of notes

The following is general information on the movements: 

EPIC THEATRE 
Intention is to: 

• Distance the audience (emotionally) 
• Encourage the audience to see the world in which they lived more critically and clearly  rather than take their beliefs for granted 
• Make a clear distinction between a Theatre of Illusion, ('Dramatic' Theatre) and Epic  Theatre 
• Be opposed to the idea of pretence (a typical feature of Realism), but rather portrays  the harshness of real life 
• Keep spectators to alert throughout the play  
• Remove the 'illusion' of Realism 
• Employ various techniques to alienate the audience – difference between what they  saw on the stage and what was real 

Techniques 

• 'Verfremdungseffekt' or alienation distances the audience from the action on the stage 
•  Music should provide a noteworthy commentary on the action e.g. in Mother Courage  where the ironically bitter words of a song which speaks of the character's steady  moral decline are deliberately arranged to a sweet, carefree tune. The incongruity  between the tune and the words compels the audience to think about the true meaning of the song 
• Songs amongst the scenes tell the audience what was to happen before it occurred
• Stage space is non-specific 
• Sets are simple and symbolic  
• Theatre should 'make strange' the actions that are presented 
• Historification – the playwright should highlight the 'pastness' of the events by  separating them from the present 

Audience should: 

• Think that, if he or she had experienced the same conditions as those demonstrated in  the play, he/she would have acted in a different way, because of the lessons learnt
• Consider what he or she would have done to make a positive difference
• Be inspired to make similar valuable social improvements with regard to the current  state of affairs 
• Be encouraged to bring about social reforms in his community or environment 

THEATRE OF THE ABSURD 
The Absurdist world: 

• Appears to have no true order or meaning 
• Offers the audience an existentialist point of view of the outside world 
• Forces the audience to consider their meaning in the world  
• Has no definite, specific or recognisable existence 
• Proposes that human beings are what they make of themselves 
• Proposes that human beings are determined by their actions and choices 
• Has a pessimistic outlook of the human struggle 
• Mainly concerned itself with mankind's search for meaning 

Characters: 

• Are not fixed 
• Represent humanity who themselves are nothing
• Exist in a bleak world devoid of meaning 
• Are lost, confused  
• Their actions are worthless and absurd 
• Are clown-like  
• Stay together as they are afraid to be alone in such an incomprehensible world 
• Lack identity – dull, uninteresting and lack dimension 
• Flawed  
• Are not well-rounded – no past and we are given little indication what the future might  be 
• Remain static and show no development 
• Come across as being repulsive, pathetic, miserable and incapable
• Are emotionally empty  
• Their qualities are exaggerated  
• Are used to express Absurdists' views on the human condition 
• Are mutually dependent  
• Are 'Social puppets' 
• Perform double acts  

Language and dialogue: 

• Shows that humans are not adept at communication  
• Acts as a barrier to communication  
• Isolates the individual even more 
• Shows that speech is almost futile 
• Questions the value of language  
• Lost its ability to communicate 
• Attempts at communication often 'disintegrate' from clichés to meaningless syllables
• Inability of language to bridge the gap between the characters 
• Dehumanises and makes existence automatic and meaningless 
• Presents the unexpected, the bizarre and the absurd 
• Uses silence rather than the spoken word 
• Contains meaningless conversations  
• Are habitual and superficial  
• Are seen as an escape from the tedium of life 
• Create new words 
• Contain banal daily conversations mixed with literary language, puns, clichés, slang  and repetitions are interspersed with poetic language 
• Displays a repetitious style of dialogue to emphasise the cyclic nature of life 

Themes explore and demonstrate the: 

• Temporality and evanescence (time) 
• Tragic difficulty of becoming aware of one's own self in the merciless process of  renovation and destruction that occurs in life 
• Change of time 
• Difficulty of communication   
• Unending quest for reality  
• Tragic nature of relationships  
• Terror of man in the face of total meaninglessness 
• Anguish (Existential angst) 
• Isolation and loneliness of man lost in a world in which God has deserted him • Illusion that science and reason provide answers or meaning

POSTMODERNISM 
The Postmodern world: 

• Rejects the certainties of the Modern Era  
• Contains no Grand Narrative or singular truth  
• Rejects the idea that there is a dominant set of beliefs or a neat solution
• 'Destroys' the 'truth' 
• Embraces multiple view points, perspectives, realities 
• Includes Art, Theatre, Architecture, Music, Film, Literature, Fashion, TV and other  forms of expression 
• Borrows from a multiple array of styles 
• Rejects the notion of 'high art' and 'low art' 
• Embraces Avant Garde (forward thinking), experimental theatre 
• Does not prescribe to a 'purity' in art 
• 'Trashes' high art 
• Contains no fixed way of creating art  
• Moves towards a more subjective opinion 
• Holds that culture belongs to every person 
• Deconstructs (a way of taking set notions apart and putting them together again in a  new, disrupted and disjointed manner) ideas, images and constructs
• Contradicts ideas, images and constructs 
• Does not prescribe a meaning, point of view or perspective 
• Holds the notion that each individual viewer creates their own unique meaning
• Reflects and celebrates the madness and chaotic way of life in a Popular culture
• Enjoys nonsense art, ideas, constructs and theories 
• Sees irony and humour 
• Emphasises HOW things are seen as opposed to WHAT is seen 

Pastiche: 

• Is a Visual Arts technique of different images, media forms etc. pasted together to  create one piece 
• Uses references and layers, different texts and images 
• Uses Meta Theatre/Text 
• Reminds the viewer that they are in the theatre 
• Contains characters that can step out of character and communicate with the  audience 
• Is the art work reflecting on itself 
• Is non-linear in construction 
• Is reflexive 
• Is peripheral even not essential 
• Contains theories or ideas 
• Is broken up  
• May overlap with many points of view and conflicting voices 

Performances are: 

• The main focus 
• The main process 
• Not captured in a script because they consist of images, sounds and multimedia

Rehearsal processes are: 

• Improvised 
• Changed 
• Revised 
• Updated 
• Transformed through performance continually 

Audience is: 

• An important active element  
• Often included in the dialogue 

Play Texts: 

• Have no clear beginning, middle or end 
• Make the script just the starting point 
• Have unanswered questions 

Texts (visual, aural, the human body etc.): 

• Look at themes or theatrical devices 
• Leave the play open-ended 
• Embrace the idea that the audience makes their own meaning 
• Ask more questions than are answered 
• Contain visual images and non-spoken actions 
• Deconstruct a truth and do not accept only one reality 
• Use time, space and structure to echo the deconstructed or defragmented story or plot
• Do not necessarily have real people 
• Contain characters and people who are merely a representation of fragmented ideas
• Often start at a realistic point but unravel and the action becomes unreal as the play  goes along 

TOTAL SECTION A: 30

SECTION B: SOUTH AFRICAN THEATRE: 1960–1994 
The candidate must answer only ONE question in this section. 
QUESTION 2: WOZA ALBERT! BY PERCY MTWA, MBONGENI NGEMA AND  BARNEY SIMON 
2.1 Markers accept other relevant and well-motivated answers. Candidates need  only mention one representation.  
The following is a guide: 
Pink noses are used to represent: 

• White characters, e.g. Baas Kom, the white policeman 
• A miner's lamp (2)

2.2 Markers accept other relevant and well-motivated answers. 
The following is a guide: 

• Actors are portraying many characters through transformation techniques 
• It is easier to use their real names on the script 
• The play was workshopped with the two actors whose names are used (2)

2.3 Markers accept other relevant and well-motivated answers. Mark globally. 
Award full marks for: 

• Three well-motivated statements OR 
• Six separate thoughts/ideas 

The following is a guide: 
Use of voice: 

• Actors should have the ability to use various accents as they are switching  from one character to the other, e.g. Bobbejaan transforming into being  Baas Kom 
• They should be able to produce sound effects using their voices e.g. the  sound of a siren in jail 

Use of body: 

• Stand upright  
• Chests out  
• Legs slightly apart  
• The above physical characteristics give them a sense of authority 

Use of performance space/blocking: 

• Actors might enter and move through the audience 
• The whole performance space could be used for the military parade (6)

2.4 Markers accept other relevant and well-motivated answers. 
Award full marks for: 

• Two well-motivated statements OR 
• Four separate thoughts/ideas 

The following is a guide: 
Actors may: 

• Find it difficult to portray multiple roles because it is both physically and  vocally demanding to transform from one character to another 
• Not be able to play all the different accents of the various characters 
• Struggle with physical and vocal transformation of characters because each character must have their own unique physical and vocal  characteristics 
• Struggle with breath control because the performance demands are  physically challenging (4) 

2.5 Markers accept other relevant and well-motivated answers. 
Award full marks for: 

• One well-motivated statement OR 
• Two separate thoughts/ideas 

The following is a guide: 
The stage directions are necessary for the success of the scene  because: 

• The audience would recognise them as military men and their rank through their gestures, military hats and pink noses 
• The audience would also recognise them as wounded through their  bandages 
• The style of performance is Poor Theatre and the effectiveness of Poor  Theatre is to strip away any unnecessary costumes or props which  focuses the audience on what is important (2) 

2.6 Markers accept other relevant answers. 
The following is a guide: 
The events leading up to Operation Coronation are: 

• Bobbejaan and Zuluboy await Morena's arrival  
• They want Morena to make more bricks 
• Morena arrives and they offer him food and drink 
• Bobbejaan betrays Morena to the police 
• The police raid Coronation Brickyard  
• Zuluboy hits a policeman with a knobkierie 
• Morena is arrested (4)

2.7 Markers accept other relevant and well-motivated answers. 
Award full marks for: 

• Three well-motivated statements which reflect evaluation OR 
• Six separate thoughts/ideas 

The following is a guide: 
Physical comedy: 
Characters: 

• Use exaggerated movements and gestures to mimic and make fun of  characters and actions e.g. marching as soldiers 

Vocal comedy: 
Characters: 

• Use exaggeration of accent to poke fun and create humour 
• Use vocal mimicry of stereotypes (a sergeant) for recognition and cause  laughter 
• Use of hyperbole e.g. 'He struck me with a branch of a tree' (6)

2.8 Markers accept other relevant and well-motivated answers. 
Award full marks for: 

• Two well-motivated statements OR 
• Four separate thoughts/ideas 

The following is a guide: 
Woza Albert! can be described as Protest Theatre because the play:

• Protests against apartheid 
• Deals with sociopolitical issues that needed change e.g. poverty, Bantu  education system, poor working conditions 
• Aims to change society outside the territory of theatre 
• Was used to mobilise the masses of oppressed people against Apartheid (4)

2.9 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept other relevant and well-motivated answers. 
The following is a guide: 
Education and mobilisation occurred through: 
Content that: 

• Highlighted relevant socio-political issues, e.g. poor working conditions,  poverty, Bantu Education 
• Made the issues of the struggle familiar to the audience 
• Created an awareness of the atrocities committed by the apartheid  government 
• Made the characters recognisable so that audiences could relate to them  e.g. Auntie Dudu and the meat vendor 
• Made places recognisable and which evoked strong feelings of anger and  sadness, e.g. Albert Street, Regina Mundi Church and Coronation  Brickyard 
• Made situations familiar to the audience members e.g. the musician and  the pass book, Auntie Dudu searching for food etc. 

Performance style that: 

• Made use of various South African languages, such as isiZulu, Afrikaans  and English to include all South Africans 
• Included interactive singing, dancing and storytelling which captivated  audiences  
• Demonstrated a physical style of acting which was energetic and vibrant
• Created an intimate actor-audience relationship e.g. breaking the fourth  wall 
• Used mime, which was universally recognisable 
• Used ideophones to create the world of the play and evoke responses (10) [40]

QUESTION 3: SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY 
3.1 Mingus is illiterate, he cannot read or write. (2)
3.2 Markers accept other relevant and well-motivated answers. 
The following is a guide: 
The ending might be funny because: 

• The phrase 'Yours in loving memory' is used to refer to people who have  died, not in a love letter. Mingus probably heard it at the funeral he had  attended earlier on  
• It is not romantic to say 'Yours in loving memory' (2)

3.3 Markers accept other relevant and well-motivated answers. 
Award full marks for: 

• Two well-motivated statements OR 
• Four separate thoughts/ideas 

The following is a guide: 
The characters relate to one another in this scene as people: 

• Who are familiar with one another; with the exception of Fahfee, they all  live in the same house 
• Who get along with each other most of the time 
• Who are protective of each other, especially Mingus of his younger sister  Lulu  
• Who are concerned about the wellbeing of each other, e.g. Jakes and  Mingus both wish for Lulu to remain at school and become educated 
• Who would argue and disagree about some matters but who would defend  each other in times of crisis (4) 

3.4 Markers accept other relevant and well-motivated answers. 

• Three well-motivated statements OR 
• Six separate thoughts/ideas 

The following is a guide: 
The scene should be blocked to reflect the following physical and  emotional relationships between characters: 

• Mingus is desperate for Jakes to write his letter so he may stand very  close to Jakes to see what he writes on the page (line 1) 
• Fahfee could enter from upstage left and walk across the stage quite fast  in an animated fashion with news of the day (lines 3 to 5) 
• Jakes could approach Fahfee (line 6) because he is curious to know if  Fahfee has brought Lulu's books 
• Mingus could move between Fahfee and Jakes in an aggressive stance  (lines 7 to 9) because he is being protective of his sister, Lulu (6)

3.5 Markers accept other relevant answers. 

• Two well-motivated statement OR  
• Four separate thoughts/ideas 

The following is a guide: 
Jakes wants to: 

• Write about a white girl who might be willing to live in Mamariti's house 
• Prove that people from different cultural backgrounds can live together in  harmony and defy apartheid laws 
• Focus on a human story which would be more universally relevant (4)

3.6 Markers accept other relevant and well-motivated answers. 

• Three well-motivated statements OR 
• Six separate thoughts/ideas 

Candidates should focus on an integrated analysis of preparation and  performance of the character. Mention could be made of Stanislavski's' System/Method. Other authentic, original approaches to characterisation and  acting would be acknowledged. 
The following is a guide: 
The actor could reflect an understanding of the following aspects of  Stanislavski's System, e.g.: 
Physical score of actions: 

• Actions and reactions should be realistic  
• Physical action (facial expression, gestures and movement) is used in the  creation of the play's life on stage 

Beat work: 

• Shifts in thought and feeling should be reflected effectively and realistically
• Units and objectives should be reflected in the actor's physical and vocal  expression 

Vocal expression: 

• The illusion of a real conversation is created because the play is realistic
• Thoughts and feelings must be analysed and understood in order to be reflected in the actor's tone, pace, rate, volume etc.  

Magic if: 

• The actor should live as if he/she is the character 
• Vocal and physical responses would vary from performance to  performance, but will always be experienced as truthful and as real as  possible 
• 'Acting is believing' 

Circles of attention: 

• The actor's focus should be on the world of the play and not on the  audience 

Emotional memory: 

• The actor can draw on personal experiences to tap into emotional reality in  performance (6)

3.7 Markers accept other relevant and well-motivated answers. 
Award full marks for: 

• Three well-motivated statements OR 
• Six separate thoughts/ideas 

The following is a guide: 
Elements of Protest Theatre found in the play: 

• Protests against Apartheid 
• Deals with socio-political issues that need change e.g. poverty, Bantu  Education system, crime and forced removals 
• Aims to change society outside of the theatre by evoking an emotional  response in the audience 
• Was used to mobilise the masses against apartheid 
• Uses slogans, songs and narration to evoke a response of protest from  the audience 
• Has the actors address the audience at times 
• Is a living newspaper documenting the forced removals, demolition and  ultimate destruction of Sophiatown, the place 
• A record of the defiance of the residents of Sophiatown (6)

3.8 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept other relevant and well-motivated answers. 
The candidate should express their point of view in the form of a reflection.  The candidate should document the life in Sophiatown, comment on personal  experiences of forced removals as well as the effects of forced removals on the people living in Mamariti's house. 
The following is a guide: 
Personal experiences of life in Sophiatown: 

• We lived in an overcrowded, small space. We shared the space with other  people and did not have personal space as I was used to more space  back home in Yeoville. In Mamariti's house there is no privacy and I could  not have a bedroom to myself as I had to share it with the other female  occupants of the house 
• It was difficult yet interesting to learn a different way of life. I had to learn  Tsotsitaal and communicate with gang members for the first time in my  life. I had to be able to be in control of the situation and use not only the  correct language/lingo but also body language and keep eye contact to  show my seriousness 
• I wanted to experience a different kind of life than the one I was used to. I  ended up falling in love with Jakes but we could not pursue the  relationship due to the Apartheid laws that prohibited inter-racial  relationships

Personal experiences of forced removals: 

• I found myself displaced both physically and emotionally as a result of the  forced removals. I had to decide where I should go as I had closed the  door back home in Yeoville. Staying in Sophiatown was not an option as I  was now faced with the reality that I did not belong there even though my  heart was now rooted there and I had found love 
• Moving out of Sophiatown with my lover was not an option either. We were  both afraid to explore the relationship any further and rebel against the  Immorality Act 

Effects of forced removals: 

• Mamariti was heartbroken as she had to leave her house and it meant a  loss of income for her as she could not continue operating her shebeen and renting out the rooms in her house for extra income. It was illegal to  own a shebeen and sell liquor 
• Some of Mamariti's belongings were destroyed while loading them onto the truck and not all of her belongings could be loaded  
• Lulu's schooling was disrupted 
• Mingus finally accepted the fact that he had to move to Meadowlands and  willingly did so (10) [40]

QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS 
4.1 Tjokkie was born with the caul therefore he has the ability to 'see'. (1)
4.2 Giel and Jakes. (2) 
4.3 Markers accept other relevant answers. 
The following is a guide:  
The two characters force Tjokkie to see by: 

• Pulling Tjokkie up by his overall with the block-and-tackle while 
• they lower the lifting-jack onto his legs 
• Forcing him to smoke a joint (marijuana) 

4.4 Markers accept other relevant and well-motivated answers.
Candidates must  mention TWO of the visions to get full marks. Mark globally. 
The following is a guide: 
Vision 1: 
The vision could refer to: 

• Tiemie who is compared to a garden 
• Jakes who appears to see if the seed in the garden is growing 
• The question of paternity of the child Tiemie carries 
• Jakes who wants to find out if he is the father of the child 

Vision 2: 
In the vision the: 

• Ducks could represent horses in a race 
• Less colourful duck could refer to the grey horse, Nattie Tatty, who wins the race later in the play 

Vision 3: 
The vision could refer to: 

• Tjokkie's desire to re-unite with his dead father 
• Giel leaving Ma at the end of the play 
• The death of both Tjokkie and Tiemie 
• Jakes who runs away after he kills Tiemie (2) 
• Ma who stands motionless in a state of shock (6)

4.5 Markers accept other relevant answers.
Award full marks for: 

• Three separate thoughts/statements

The following is a guide: 
The play is a 'must see' because: 

• It is a domestic drama about the lives of ordinary people
• Its themes are universal
• It has interesting and intriguing characters
• It has a dramatic plot and outcome
• Many can relate to the issue of being 'stuck' in their circumstances (3)

4.6 Markers accept other relevant and well-motivated answers.
Candidates should focus on an integrated analysis of how realism in the  theatre translated into preparation and performance of the character. Mention  could be made of Stanislavski's System/Method. An authentic, original  approach to characterisation and acting would be acknowledged. 
The following is a guide: 
The actor playing Tjokkie could reflect an understanding of the  following aspects of Stanislavski's System, e.g.: 
Physical score of actions: 

• Actions and reactions should be realistic  
• Physical action (facial expression, gestures and movement) is used in the  creation of the play's life on stage 

Beat work: 

• Shifts in thought and feeling should be reflected effectively and realistically 
• Units and objectives should be reflected in the actor's physical and vocal  expression 

Vocal expression: 

• The illusion of experiencing a real 'vision' is created because the play is  realistic 
• Thoughts and feelings must be analysed and understood in order to be  reflected in the actor's tone, pace, rate, volume etc.  

Magic if: 

• The actor should live as if he is the character seeing these 'visions' 

Circles of attention: 

• The actor's focus should be on the world of the play and not on the  audience 

Emotional memory: 

• The actor can draw on personal experiences to tap into emotional reality in  performance (8) 

4.7 Markers accept other relevant and well-motivated answers based on the  candidate's knowledge of applying sound and lighting design. 
Award full marks for: 

• Four well-motivated statements 

The following is a guide: 
Sound effects could include the use of: 

• A song to increase the tension and to create a mysterious atmosphere
• Mechanical sounds to emphasise Tjokkie's struggle 
• Silence to reinforce the importance of the moment 

Lighting effects could include the use of: 

• Red lighting to foreshadow the danger of the visions 
• Flashing lights to reinforce the supernatural nature of the visions (8)

4.8 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept other relevant and well-motivated answers.  
Candidates should display an understanding of how central ideas are  highlighted through the characters in the play. 
The following is a guide: 

• It is believed that Tjokkie can predict the future when he has visions 
• Tjokkie's visions of the future serve as a catalyst for the dramatic action in  the play  
• Tjokkie believes Tiemie has potential and should escape the Suburbs  in order to have a better future 
• Tiemie dreams of a future away from the Suburbs  
• Tiemie does not want to be stuck in a house with children and a husband  who comes home drunk every evening 
• Jakes dreams of a future in which he and Tiemie are married and have  a son  
• Giel gambles to improve his own future 
• Ma does not want her children to make the same mistakes she made (10) [40] 

TOTAL SECTION B: 40

SECTION C: SOUTH AFRICAN THEATRE: POST-1994 – CONTEMPORARY
The candidate must answer only ONE question in this section. 
QUESTION 5: NOTHING BUT THE TRUTH BY JOHN KANI  
5.1 Markers accept other relevant and well-motivated answers.  
Award full marks for: 

• Three well-motivated statements OR 
• Six separate thoughts/ideas 

The following is a guide: 
The placement of the characters on stage reflects a relationship: 

• In which Sipho is in command of the space, seated on the chair, whilst  Thando kneels on the floor cleaning the coffee table as a dutiful daughter  might do 
• Of the closeness of a father and daughter as they are physically close to  each other 

The dialogue reflects: 

• Caring questioning as to her father's well-being 
• A depth of relationship in the communication and qualification of what is  troubling Sipho 
• That Thando is close to her father as she is sensitive to his mood and  feelings (6) 

5.2 Markers accept other relevant and well-motivated answers.  
Award full marks for: 

• Two well-motivated statements OR
• Four separate thoughts/ideas

Direction of the lines might take into account: 

• Character and situation, e.g. anxiety of waiting for the body to arrive 
• Mood and feeling, e.g.: sombre, sadness, grief
• Motivation and tension, e.g. relationship with the deceased

Candidates might mention the following aspects of vocal delivery: 

• Volume, e.g. Sipho's volume might be loud as his anxiety might take the  form of aggression 
• Pitch, e.g. Thando's pitch might be higher to reflect her anxiety
• Inflection, e.g. Thando's question might end in a rising inflection
• Pause, e.g. a dramatic pause to emphasis the issue that the nervousness is about 'this evening' (4)

5.3 Markers accept other relevant and well-motivated answers.  
The following is a guide: 
Sipho's costume is suitable because it: 

• Reflects his position as assistant chief librarian, wearing a suit and tie  which is somewhat dishevelled after a long day's work and the prospect of  Mandisa's arrival 
• Is appropriate for his age 
• Is conservative like his character 

Thando's costume is suitable because: 

• She is cleaning the house and she wears an apron 
• Her headdress shows her respectful and conservative nature 
• She has just returned from work so she is still wearing her work jacket (4)

5.4 Markers accept other relevant and well-motivated answers.  
Award full marks for: 

• Two well-motivated statements OR 
• Four separate thoughts/ideas 

The following is a guide: 
Thando might be worried that Sipho is nervous about: 

• Mandisa's arrival from England 
• The arrival of Themba's body from England 
• The funeral arrangements for Themba 
• Meeting Reverend Haya and Mr Kahla to make funeral arrangements (2)

5.5 Markers accept other relevant and well-motivated answers. Mark globally. 
Award full marks for: 

• Three well-motivated statements OR 
• Six separate thoughts/ideas 

The following is a guide: 
Events might include: 

• Mandisa's arrival with ashes rather than a body 
• Mandisa's flippant and somewhat disrespectful attitude towards Sipho  because of her Western upbringing 
• The constant questioning about Themba by Thando and Mandisa in order  to find out the truth 
• The withholding of the truth from Mandisa and Thando because of  Themba's affair 
• The worry about the funeral 
• Not being appointed as chief librarian which would cause Sipho to be  angry and disappointed 
• Sipho going to a shebeen and getting drunk as an emotional reaction to  the bad news that he was not appointed chief librarian  

All these events build up as fuel for Sipho's climactic outburst (6)
5.6 Markers accept other relevant and well-motivated answers.  
Award full marks for: 

• Three well-motivated statements OR 
• Six separate thoughts/ideas 

The following is a guide: 
The set design is effective for the action of the play because it: 

• Pays attention to detail, e.g. the bead curtains, furnishings, kitchen and  lounge  
• Includes a bookshelf which is filled with books that look well-used 
• Displays photographs on the counter which reflect the warmth of family life 
• Allows the characters to be comfortable in the set and use it in a realistic  manner e.g. Thando kneels comfortably on the carpet, Sipho sits  anxiously on the edge of his chair 
• Reflects the socio-economic environment which the characters inhabit,  e.g. two rooms, beaded curtains 
• Allows the characters space to move (6)

5.7 Refer to the notes below and ANNEXURE B to inform your marking.
Markers accept other relevant and well-motivated answers.  
The following is a guide: 
Nothing But The Truth is a good example of personal and universal  reconciliation because the play's action aims to: 

• Reconcile many divergent elements: traditional and modern; old and  young; male and female; exiled South Africans abroad and the people left  behind in Apartheid South Africa 
• Unite families: father and daughter; husband and wife; brother and  brother; cousin and cousin 
• Heal the Makhaya family from the pain they suffered during Apartheid 
• Show how traditional and modern values seem to clash as in the case of  Mandisa being opposed to the idea of not being able to go out before the  burial of her father. It is customary that the family of the deceased cannot  socialise as they are still mourning. This is finally resolved  
• Reveal how the young and old generations understand life differently, but Sipho as the elder has the final word in the affairs of the household 
• Restore the broken relationship between brothers as in the case of Sipho  and Themba. Sipho manages to finally forgive his brother for all the  wrongs that he has done him. He acknowledges that he did not want to  admit the truth and instead blamed his brother for the death of his son,  Luvuyo, even though he knew that he was not responsible 
• Reconcile characters (e.g. Sipho with himself), between characters (e.g. Sipho, Thando and Mandisa), and with the future (Sipho releases the past  and focuses on future plans) 
• Have universal significance for reconciliation of all kinds because the play  reflects the human condition (12) [40]

QUESTION 6: GROUNDSWELL BY IAN BRUCE 
6.1 Markers accept other relevant answers.  
The following is a guide: 
The setting is: 

• Post-apartheid South Africa 
• A remote guest house on the west coast. (2)

6.2 Markers accept other relevant and well-motivated answers.  
The following is a guide: 
The mood is: 

• Tense because Johan is about to strike Smith 
• Threatening because Johan is being physically aggressive towards Smith 
• Serious because someone could be hurt 
• Volatile because it shows Johan's quick temper (2)

6.3 Markers accept other relevant and well-motivated answers.
The following is a guide: 
The inclusion of isiXhosa: 

• Gives the play a distinctly South African character because isiXhosa is a language spoken in South Africa
• Makes the play more inclusive of isiXhosa-speaking people
• Adds to the realism of the characters and situation because Thami is a Xhosa-speaking man (2)

6.4 Markers accept other relevant and well-motivated answers. 
Award full marks for: 

• Two motivated statements  

The following is a guide: 
The positioning of the characters reflect: 
Their relationship: 

• Shows Johan's dominance over Smith 
• Johan's aggressiveness as he has Smith by the collar 
• Highlights Smith's fear of Johan 

Mood: 

• Is threatening and violent 
• Is full of aggression (4)

6.5 Markers accept other relevant and well-motivated answers. 
Award full marks for: 

• Two well-motivated statements OR 
• Four separate thoughts/ideas 

The following is a guide: 
Johan: 

• As a policeman, he became the ultimate victim and/or perpetrator because  he killed another man 
• This affected the rest of his life from that point onward as he carries guilt  and remorse 
• His guilt and shame has trapped him in a negative cycle of self-destruction e.g.: he experiences hopelessness and abuses alcohol 

Thami: 

• As a black man he is classified racially and is viewed as inferior, he is disenfranchised, is denied opportunities available to those privileged white  people enjoying the freedom of movement 
• He is denied the freedom to vote, live and do dignified work 
• Although Apartheid is dead, he remains desperate to change his socio economic circumstances 

Smith: 

• Smith believes he has never hurt anyone and is blind to the fact that,  despite having shaken the hand of Tutu, and despite the fact that his wife  belonged to the Black Sash movement, his contribution to the struggle  against Apartheid was passive, insignificant and worthless 
• He has, as a white business man, enjoyed the indulgences of wealth in a  country where the divide between the haves and the have-nots was  extreme 
• His blindness to the fact that Apartheid affected him makes the possibility  for him to change very unlikely, if at all. He has become selfish, egotistical,  hedonistic, seeking pleasure for himself. His refusal to sponsor the  business opportunity which might bring the three men together,  emphasises this fact (4)

6.6 Markers accept other relevant and well-motivated answers. 
Candidates should focus on an integrated analysis of how realism in the  theatre translated into preparation and performance of the character that they  have been cast to play. Mention could be made of Stanislavski's' System/  Method. An authentic, original approach to characterisation and acting would  be acknowledged. 
The following is a guide: 
The actor could reflect an understanding of the following aspects of  Stanislavski's System, e.g.: 
Physical score of actions: 

• Actions and reactions should be realistic  
• Physical action (facial expression, gestures and movement) is used in the  creation of the play's life on stage 

Beat work: 

• Shifts in thought and feeling should be reflected effectively and realistically
• Units and objectives should be reflected in the actor's physical and vocal  expression 

Vocal expression: 

• The illusion of a real conversation is created because the play is realistic
• Thoughts and feelings must be analysed and understood in order to be  reflected in the actor's tone, pace, rate, volume etc.  

Magic if: 

• The actor should live as if he/she is the character 
• Vocal and physical responses would vary from performance to  performance, but will always be experienced as truthful and as real as  possible 
• 'Acting is believing' 

Circles of attention: 

• The actor's focus should be on the world of the play and not on the  audience 

Emotional memory: 

• The actor can draw on personal experiences to tap into emotional reality in  performance 

Backstage before a performance the actor may choose to do:  

• Vocal and physical warm ups (examples of warm ups may be offered by  the candidate) 
• Relaxation exercises (examples may be given) 
• Make-up and costume relevant to the character  
• Focus and concentration exercises in order to recall preparation and work  in rehearsal according to Stanislavski's method (6)

6.7 Markers accept other correct, relevant and well-motivated answers. 
Award full marks for: 

• Two well-motivated statements OR 
• Four separate thoughts/ideas 

The following is a guide: 
Candidates might describe detail of the set or describe abstract  qualities of the set, e.g.: 
The set: 

• Garnet Lodge is the name of the lodge 
• Is a beachfront guest house by the seaside 
• Is in a small port town on the west coast 
• Choice of décor is of absent owners not being there often 
• Is a large old room with predominantly wooden walls 
• Is an accumulation of second-hand furniture, which is not very upmarket
• A dining room with a table and four chairs gives the actors a space in  which to interact because it is a dining area in the lodge 
• Has a modern music centre to show the era and also perhaps play songs  which tie into the mood and messages of the play 
• Has an entrance to kitchen with beaded curtain to allow for believable  entrances and exits 
• Has a sitting area with two armchairs and coffee table for the characters to  interact 
• Has an appropriate nautically themed interior because it is on the West  Coast 
• Creates the illusion of reality though its attention to detail 
• Is a no-man's land because it isn't anyone's home (4)

6.8 Markers accept other correct, relevant and well-motivated answers. 
Award full marks for: 

• Two well-motivated statements OR 
• Four separate thoughts/ideas 

The following is a guide: 
The director chose to produce this play at my school because: 

• The play deals with relevant personal, interpersonal and social issues from  which we can all learn as they are universally relevant 
• The characters are three-dimensional, we can relate to them as real  people 
• The psychological realism in the play enables the audience to empathise  and sympathise with the characters 
• The situations are universal: guilt, remorse over past actions, anger and  bitterness at being failed or disappointed by a system or institution is still  experienced today 
• It may help audiences to recognise the racism and choices the characters  make and learn from their responses (4)

6.9 Refer to the notes below and ANNEXURE B to inform your marking. Markers accept other relevant and well-motivated answers. 
The following is a guide: 
Conflict: 

• Is both internal and external e.g. Johan is unable to fulfil his dreams which  causes inner conflict as to how to solve this problem  
• Thami has experienced the inner conflict of being away from his family whilst  wanting to make money to support them and Smith finds himself in conflict  enmeshed in Johan's aggression and conflict with him against his decision  not to invest in Johan's scheme 
• Could be between man and God, man and man and within man according to  Aristotelian definition of dramatic conflict 
• In this play is also with the environment and society through the characters,  their situations and the socio-political context 
• Drives the action of the plot in a clear cause-to-effect arrangement typical of a  well-made play, to its climax and ultimate denouement (conclusion) 
• Is a universal phenomenon and keeps the audience interested to see how  these conflicts are resolved (or not) 

Plot: 

• The build-up of tension is driven by the clear cause-to-effect structure of the  plot 
• Johan's anger from the past is heightened by the current situation of  desperation for funding for their business ventures 
• The possibilities and potential of a better future are frustrated by the obstacle  of Smith refusing funding for the diamond concession, thereby causing  tension and driving the plot to its climax and conclusion 

Socio-political context: 

• The New South Africa should offer possibilities for change but sadly these  characters are not able to grab hold of this and make it a reality 
• Apartheid has affected each character. Smith is blind to the fact that, despite  his family's involvement in The Black Sash etc., his contribution to The  Struggle was impotent. Johan is a victim of his past as a policeman, having  killed a man. Thami has been dehumanised and disadvantaged by the  Apartheid system 
• The human condition is exposed through the characters and how they  respond to their situations, e.g. Johan's desperation to escape from his past  and create a better future 
• Lack of funds has sabotaged Thami's and Johan's attempts to free  themselves from their current socio-economic situation 

Subject matter: 

• The diamond concession is an intriguing and exciting prospect which would  draw and hold the attention of the audience 
• The illicit nature of many diamond deals might create attention and a tension  in the audience 
• The violent outburst of Johan drives the action of the play to its climax and  conclusion 
• Conflicting hopes and dreams ultimately separate Thami and Johan and  leads to Johan's hopelessness as he finally leaves the guest house 
• Immediate involvement with the subject matter through the actor-audience  relationship, e.g. characters are psychologically realistic, therefore the audience identifies with them and their situations (12) [40]

QUESTION 7: MISSING BY REZA DE WET 
7.1 Markers accept other relevant. 
The following is a guide: 
The mood might be mysterious, tense and ominous because: 

• It is dark and dangerous outside 
• There are rumours of a murder and a rapist' 
• The characters discuss the girls that have gone missing 
• The use of the words 'softly, ' glances quickly', 'suddenly' 
• The characters are afraid to speak loudly (2) 

7.2 Markers accept other relevant answers based on the candidate's knowledge  of applying sound design. 
Award full marks for: 

• Four separate thoughts/ideas. 

The following is a guide: 
Sound design could include: 

• Barking dogs to create a mood of possibly intrusion 
• Policemen calling to create a mood of possible danger 
• Circus music in the distance to create a mood of mystery and allure 
• Owls hooting to create an ominous atmosphere (4) 

7.3 Markers accept other relevant and well-motivated answers.  
The following is a guide: 
The irony is that Miem berates the people of the town who do not see the  danger of the Circus but she herself does not see the danger when she allows  Constable into the house. (2) 
7.4 Markers accept other relevant and well-motivated answers.  
The following is a guide: 
Despite Miem's warnings about the dangers of the Circus, Meisie is still both curious and excited. (2) 
7.5 Markers accept other relevant answers based on the candidate's knowledge  of light as a symbol in the play. 
Award full marks for: 

• Three well-motivated statements OR 
• Six separate thoughts/ideas 

The following is a guide: 
Light in the play symbolises: 

• Truth or the absence of truth 
• Enlightenment or the lack thereof 
• Constable hiding the truth from the other characters because he pretends to be blind and poses as a policeman 
• Repression of Miem's and Gertie's religious beliefs which is represented  by the dim lights of the oil lamps 
• The excitement of the mystical through the bright and colourful circus  lights (6)

7.6 Markers accept other relevant and well-motivated answers. 
Award full marks for three well-motivated statements. 
The following is a guide: 
Miem: 

• Lives her life in fear of the unknown 
• Is paranoid about what she does not understand 
• Sees herself as the moral conscience of the community and feels she has  to warn them about the dangers of the Circus 
• Is judgemental when she refers to the people as 'dreadful' 
• Feels that she must protect Meisie from the evils of the world 
• Ironically hides Meisie from the world in the same way as her husband  hides from the world (4) 

7.7 Markers accept other relevant and well-motivated answers. 
Candidates should focus on an integrated analysis of how realism in the  theatre translated into preparation and performance of the character. Mention  could be made of Stanislavski's' System / Method. Other authentic, original  approaches to characterisation and acting would be acknowledged. 
The following is a guide: 
The stage direction, in line 15, describes Miem`s response to Gertie as  'angrily'. This guides the actor as to which emotional state he/she should be  in. The actor should find and express truthful emotions and feelings from this  angry state of mind. The actor`s vocal performance (pitch, tone, volume etc.)  and the physical performance (body posture, gesture and movements) should  authentically and truthfully correspond with this angry state and emotion. 
The actor could reflect an understanding of the following aspects of  Stanislavski's System, e.g.: 
Physical score of actions: 

• Actions and reactions should be realistic  
• Physical action (facial expression, gestures and movement) is used in the  creation of the play's life on stage 

Beat work: 

• Shifts in thought and feeling should be reflected effectively and realistically 
• Units and objectives should be reflected in the actor's physical and vocal  expression 

Vocal expression: 

• The illusion of a real conversation is created because the play is realistic
• Thoughts and feelings must be analysed and understood in order to be  reflected in the actor's tone, pace, rate, volume etc. 

Magic if: 

• The actor should live as if he/she is the character 
• Vocal and physical responses would vary from performance to  performance, but will always be experienced as truthful and as real as  possible 
• 'Acting is believing' 

Circles of attention: 

• The actor's focus should be on the world of the play and not on the  audience 

Emotional memory: 

• The actor can draw on personal experiences to tap into emotional reality in  performance 

Backstage before a performance the actor may choose to do:  

• Vocal and physical warm ups (examples of warm ups may be offered by  the candidate) 
• Relaxation exercises (examples may be given) 
• Make-up and costume relevant to the character  
• Focus and concentration exercises in order to recall preparation and work  in rehearsal according to Stanislavski's method (8) 

7.8 Refer to the notes below and the rubric in ANNEXURE B to inform your  marking. 
Markers accept other relevant and well-motivated answers. Candidates  should display an understanding of how the supernatural is depicted in the  play. 
The following is a guide: 
The supernatural in the play is depicted and created by the: 

• Bizarre household of Miem and Meisie e.g. the father in the attic, the  manure on the lawn outside and the isolation of the house from the rest of  the town 
• Description of the unknown external environment, which is ominous and  mysterious and adds to the mood of the play 
• Mysterious and inexplicable incidences of the girls who disappear at  midnight every spring, representing and symbolising the stolen emergence  from youth into maturity 
• Use of unrealistic circus music which both lures and threatens, excites and  tempts, creating animated tension in the characters and audiences alike 
• Presence of the different types of wind, which symbolise threats from the  outside world and an evil presence 
• Presence of superstition and dreams which influence the mood and  actions of the characters in the play 
• Description of the freaks described by Gertie at the circus, which  characterises the grotesque, yet mesmerising nature of any evil or  temptation, which is what the circus may represent 
• The unseen presence of Gabriel in the attic also adds a supernatural  element ,because we never see him, although we, from time to time, hear  his moans and see buckets of his excrement lowered onto the stage (12) [40] 

TOTAL SECTION C: 40

SECTION D:THE HISTORY OF THEATRE, PRACTICAL CONCEPTS, CONTENT  AND SKILLS 
QUESTION 8  
8.1 Markers accept other relevant and well-motivated answers. Candidates  should display an understanding of Poor Theatre. 
Award full marks for: 

• Two well-motivated statements OR 
• Four separate thoughts/ideas 

The following is a guide:  
Poor Theatre: 

• Strips theatre from external technical elements and support, e.g.: lighting,  sound, costume etc.  
• Requires the actors to use their own personal resources to create the  environment (2) 

8.2 Markers accept other relevant and well-motivated answers. Candidates  should display an understanding of Grotowski's 'Holy Actor'. 
Award full marks for: 

• Two well-motivated statements OR 
• Four separate thoughts/ideas 

The following is a guide: 
Grotowski's views on actors and acting: 

• The actor is 'holy' and is a vehicle (body, voice, imagination, emotions) to  communicate with the audience 
• The role of an actor was the 'Act of laying oneself bare, of tearing off the  mask of daily life…' in order to be vulnerable and open to the experience  of the play and the audience 
• The actor must remain 'organic' in his/her reactions. Action and reaction  should be instantaneous, there should be no time-lapse between action  and reaction 
• Actors need to be highly trained physically and vocally in order to be able  to respond to the gruelling demands of playing Poor Theatre 
• Plastiques challenge the actor physically and psychologically, by creating  an external 'mask' using the entire body to express the deepest emotions 
• The perfect actor 'sacrifices' his body to acting by making an offering of  him or herself to the audience, laying himself or herself completely open to  the audience 
• Via Negativa – removal of emotional blocks by the systematic elimination  of any psychological barrier to expression (4)

8.3 Markers accept other relevant and well-motivated answers.
Candidates  should display an understanding of how Poor Theatre was influential in  apartheid South Africa. 
Award full marks for: 

• Two well-motivated statements OR 
• Four separate thoughts/ideas 

The following is a guide: 

• During apartheid the majority of South Africans did not have access to  theatre spaces and budgets to produce plays, so Poor Theatre provided  an alternative means of producing plays without a big budget and because  the majority of the population were banned from attending state-owned  theatres, performances took place anywhere, including on the street, in  township halls, in churches, etc. 
• The ideas of Poor Theatre was introduced to the likes of Mbongeni Ngema  and Percy Mtwa by being exposed to Grotowski's 'Towards a Poor  Theatre', which explained his principles of performance 
• Plays were easier to stage and tour with minimal props, set and costumes (4) 

8.4 Markers accept other relevant and well-motivated answers. Candidates  should display an understanding of Stanislavski's influence as a theatre  practitioner. 
Award full marks for: 

• Two well-motivated statements OR  
• Four separate thoughts/ideas 

The following is a guide: 

• Stanislavski created techniques for actors in order to portray their  characters more realistically 
• He demanded more discipline from his actors 
• He transformed the art of acting into a more professional discipline (4) 

8.5 Markers accept other relevant and well-motivated answers.
Candidates  should display an understanding of Grotowski's and Stanislavski's use of  theatre space. 
Award full marks for: 

• Three well-motivated statements OR  
• Six separate thoughts/ideas 

The following is a guide: 
The actor-audience relationship: 

• Stanislavski created an invisible fourth wall between the actor and the  audience, although the relationship was intimate and empathic 
• Grotowski eliminated the distance between actor and audience in terms of  the spatial relationship by including both actor and audience in the same  'room', thus the audience was part of the production 
• Actors and audiences were transformed by the experience of Grotowski's  experimental theatre, whereas in the darkened auditorium of Stanislavski's  theatre, the audience could be lulled into a false sense of security (6)

8.6 Markers accept other relevant and well-motivated answers.  
Award full marks for: 

• Two well-motivated statements OR  
• Four separate thoughts/ideas 

The following is a guide: 
Theatre could not compete with film because: 

• Film used technology which was not possible in theatre e.g.: celluloid  capturing of scenes which could be edited and retained for posterity 
• Theatre was a temporary experience, whereas film could be stored and  watched again and again 
• Film could utilise numerous locations and time frames 
• Film was popular and had large budgets available 
• Theatre is experienced by a restricted number of audience members in a  specific time and place and once it is over, it is gone (4) 

8.7 Markers accept other relevant and well-motivated answers.
Candidates  should display an understanding of the experience of watching a live  performance and watching a film. 
Award full marks for: 

• Three well-motivated statements OR 
• Six separate thoughts/ideas 

The following is a guide: 
Watching a live performance: 

• Is a personal and immediate experience 
• An audience member 'interacts' with the actors in a live manner 
• It is possible to respond by clapping, verbalising, crying or laughing, which  might also, in turn, influence the acting 

Watching a film: 

• Is impersonal in terms of any actor-audience relationship as the actors in a  film are not 'present' in the experience 
• One can be caught up in the hyper-realism and special effects of film in a  way that is not possible in the theatre 
• One can rewind, stop, watch a film over and over again and experience  the same performances at any given time (6) 

8.8 Refer to the notes below and ANNEXURE A to inform your marking. 
Markers accept other relevant and well-motivated answers. Candidates  should display an application of Stanislavski OR Grotowski OR Film in  practice. Award marks for responses that show an understanding of principles  in practice. (10) 

[40] 
TOTAL SECTION D: 40 
GRAND TOTAL: 150

ANNEXURE A: RUBRIC FOR QUESTIONS: 2, 3, 4, 8: 10 MARKS

ANNEXURE B: RUBRIC FOR QUESTIONS 5, 6, 7: 12 MARKS

BLOOMS' TAXONOMY