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

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.

QUESTIONS

SECTION A: 20th CENTURY THEATRE MOVEMENTS 
This section is COMPULSORY. 
QUESTION 1 
Study SOURCE A below and answer the question that follows. 
SOURCE A 

Evaluate, in an essay, how the play text and the 20th Century Theatre Movement that  you studied this year reflect any of the quotations above. 
The content of your essay must include the following: 

• The 20th Century Theatre Movement you studied:
  • Theatre of the Absurd OR Epic Theatre OR Postmodern Theatre
• The quotation(s) you selected from SOURCE A 
• Specific examples from the play text you studied which support your answer.

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

2.1 Explain what the 'pink noses' (line 1) refer to in the play. (2) 
2.2 Suggest why the creators of Woza Albert! chose to use the real names of  actors in the play. (2) 
2.3 Describe how you might stage lines 3 to 5 in SOURCE B. Refer to the  following: 

• Use of voice and body 
• Use of performance space/blocking (6) 

2.4 Analyse the possible challenges an actor may experience when playing many  roles in Woza Albert!. (4) 
2.5 The stage directions in lines 1 and 2 include the words 'bloody bandage' and  'military hats'. Explain whether these descriptions in the stage directions are  necessary for the success of the scene. (2) 
2.6 Explain the events leading up to Operation Coronation (lines 7 and 20). (4)
2.7 Identify and evaluate examples of the following forms of comedy in this scene: 

• Physical comedy 
• Verbal/Vocal comedy (6)

2.8 Assess why Woza Albert! could be described as a form of Protest Theatre. (4) 
2.9 Discuss how Woza Albert! succeeded in educating and mobilising audiences  through its content and style of performance. (10) [40]

QUESTION 3: SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY 
Study SOURCE C below and answer the questions that follow. 
SOURCE C 

3.1 Explain why Mingus asks Jakes to write a love letter for him. (2) 
3.2 Suggest why an audience may find the ending of the letter, 'Yours in loving  memory' (line 22), funny. (2) 
3.3 Comment on how the characters relate to one another in this scene,  (SOURCE C). (4)
3.4 Discuss, with line references, how you might block the scene to show these  relationships. (6) 
3.5 Relate the story that Jakes has 'up his sleeve' that will 'floor the lot of them'. (Lines 12 and 13) (4) 
3.6 Suggest the most truthful physical and vocal techniques the actor playing  Mingus in SOURCE C might use. (6) 
3.7 Sophiatown could be described as Protest Theatre. What elements of Protest  Theatre can you identify from the play to support this statement? (6) 
3.8 Assume you are Ruth. Write a journal entry in which you reflect on: 

• Your personal experiences of life in Sophiatown 
• Your personal experiences of the forced removals 
• The effect of forced removals on the people living in Mamariti's house (10)  [40]

QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS 
Study SOURCE D below and answer the questions that follow. 
SOURCE D 

4.1 State why, according to the play text, Tjokkie has the ability to 'see'. (1)
4.2 Name the TWO characters who force Tjokkie to 'see'. (2)
4.3 Describe how the two characters in QUESTION 4.2 force Tjokkie to 'see'. (2)
4.4 Analyse any TWO of Tjokkie's visions in SOURCE D in relation to events and  characters in the play. (6) 
4.5 Justify why Siener in die Suburbs is a 'must see' production. (3)  
4.6 Explain how the actor, playing Tjokkie, could physically and vocally perform  the moment he 'sees' on stage. (8) 
4.7 If you were directing the play, how would you use sound and lighting in a  scene where Tjokkie 'sees' to enhance the dramatic and theatrical  effectiveness of the performance? (8) 
4.8 Discuss how ideas and themes, such as 'the future' and 'to dream', are  examined in this play. (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 

5.1 Describe the relationship between Sipho and Thando, as shown in  SOURCE E, by: 

• The placement of the characters on stage 
• The dialogue (6) 

5.2 Direct the actors playing Sipho and Thando on how to say their lines in the  short extract in SOURCE E. (4) 
5.3 Comment, with reasons, on the suitability of EACH character's costume. (4) 
5.4 Suggest why Thando might be worried that Sipho is 'nervous', based on the  short dialogue in SOURCE E. (2) 
5.5 At the end of the play Sipho has a climactic outburst. Analyse the events  leading to this outburst. (6) 
5.6 Comment on the effectiveness of the realistic set design for the action of  the play. (6) 
5.7 Discuss how Nothing But The Truth is an example of personal and universal  reconciliation. (12) [40]

QUESTION 6: GROUNDSWELL BY IAN BRUCE 
Study SOURCE F below and answer the questions that follow. 
SOURCE F 

You have been cast in a school production of Groundswell. You are rehearsing the  scene depicted in SOURCE F. 
6.1 Identify the setting of the play. (2)
6.2 Describe the mood of this scene. (2)
6.3 Motivate the inclusion of isiXhosa in the play text. (2) 
6.4 How does the positioning of the characters reflect their relationship and the  mood of the scene? (4) 
6.5 Describe how apartheid has affected the relationship between the characters  in the play. (4) 
6.6 You have been cast as one of the characters in the play. Reflect on the  techniques of a theatre practitioner that informed the development and  portrayal of your character. (6) 
6.7 Describe an appropriate set that would complement the genre of the play. (4)
6.8 Explain why you believe the director chose to produce this play at your  school. (4) 
6.9 An important element of any realistic drama is conflict. Conflict drives the  action of the play to its climax and conclusion.  Discuss the significance of this statement. Refer to the plot, socio-political  context and subject matter of Groundswell. (12) [40]

QUESTION 7: MISSING BY REZA DE WET 
Study SOURCE G below and answer the questions that follow. 
SOURCE G 

You and your group have selected the scene above as part of an informal performance  assessment. You have decided to play the role of Miem for the performance. 
7.1 Describe how the mood of the scene is captured in the stage directions. Refer  to lines 1 to 4. (2) 
7.2 Outline, for the rest of your group, your ideas of sound effects that could be  added to create the mood and atmosphere in this scene. (4) 
7.3 Identify the irony of Miem's words in lines 11 to 13. (2)
7.4 Suggest what line 15 reveals about Meisie's attitude toward the circus. (2) 
7.5 Evaluate the importance of light as a symbol in the play. Refer to examples  from the play text as a whole in your answer. (6) 
7.6 Analyse what values and attitudes Miem's character displays through her  words and actions in SOURCE G. (4) 
7.7 Explain how you would portray Miem's character both vocally and physically  in lines 16 to 18. (8) 
7.8 Discuss how Reza de Wet develops the idea of the supernatural in the play. (12) [40] 

TOTAL SECTION C: 40

SECTION D: THE HISTORY OF THEATRE, PRACTICAL CONCEPTS, CONTENT  AND SKILLS 
QUESTION 8 (COMPULSORY) 
Study SOURCE H below and answer the questions that follow. 
SOURCE H 

8.1 Define Poor Theatre. (2) 8.2 Write brief notes on Grotowski's view of actors and acting. (4) 
8.3 Explain how South African theatre was influenced by Poor Theatre during the  days of Apartheid. (4) 
8.4 Briefly discuss how 'the work of Stanislavski' (lines 6 and 7) has contributed to  the theatre world. (4) 
8.5 Compare how Grotowski and Stanislavski used theatre space in terms of  the actor-audience relationship. (6) 
8.6 Suggest why Grotowski believed that theatre could not compete with 'rich' film  (line 11). (4) 
8.7 Compare the experience of watching a live theatre performance with watching  a film. (6) 
8.8 Describe how you have applied the principles of Grotowski OR Stanislavski  OR film to any of your practical performances during your study of Dramatic  Arts. (10) 

TOTAL SECTION D: 40 
GRAND TOTAL: 150