DRAMATIC ARTS
GRADE 12
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 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 unpacking 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).

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 adhere to 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 the 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 is COMPULSORY. Answer QUESTIONS 8 AND 9.
   QUESTION 8: Theatre history, Practical concepts, Content and Skills
   QUESTION 9: Theatre history, Practical concepts, Content and Skills

MEMORANDUM 

SECTION A: 20th CENTURY THEATRE MOVEMENTS 
QUESTION 1 

The following content pointers serve as 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 content pointers serve as general information on the theatre movements.

EPIC THEATRE 
Intention and purpose: 

• Distances the audience from the action 
• Allows the audience to see the world in which they live more clearly, rather than  taking their beliefs for granted 
• Makes a clear distinction between a Theatre of Illusion ('Dramatic' Theatre) and Epic  Theatre 
• Opposed to the idea of pretence (a typical feature of Realism) 
• Spectators to be alert 
• Realism has lost its worth – undermines the role of the spectator – reduces him to a  passive onlooker 
• Removes the 'illusion' of Realism 
• Employs various techniques to 'alienate' the audience – difference between what they  see on the stage and what is real 

Techniques: Use of: 

• 'Verfremdungseffekt' or alienation to distance the audience from the action on the  stage  
• Purpose of music – must provide a noteworthy commentary on the action, e.g. in  Mother Courage the ironically bitter words of a song which speak 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 placed between the scenes to tell what must happen before it occurs 
• 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 response: 

• Spectator to 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 
• Spectator to then consider what he or she would have done to make a positive  difference 
• Spectator must be inspired to make similar valuable social improvements with regard  to the current state of affairs 
• Spectator is encouraged to bring about social reforms in his community or  environment

THEATRE OF THE ABSURD 
Intention and purpose. 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 
• Presents human beings as what they make of themselves 
• Presents human beings as determined by their actions and choices
• Presents a pessimistic outlook of the human struggle 
• Is mainly concerned with mankind's search for meaning 

Characters: 

• Are not fixed 
• Represents humanity, while they themselves are nothing  
• Exists in a bleak world devoid of meaning 
• Are lost, confused  
• Are worthless and absurd in their actions 
• Clown-like  
• Stay together as they are afraid to be alone in such an incomprehensible world 
• Lack identity – dull, uninteresting and lack dimension 
• Are not well-rounded – they have no past and audience is given little indication of  what the future may be 
• Remain static and show no development 
• Come across as being repulsive, pathetic, miserable and incapable
• Appear to be emotionally empty  
• Display qualities that are exaggerated  
• Are used to express Absurdists' views of the human condition 
• Are mutually dependent  
• Used as 'social puppets' 
• Perform in double acts  

Language and dialogue: 

• Signal that humans are not adept at communication  
• Act as a barrier to communication  
• Isolate the individual even more 
• Portrays speech is almost futile 
• Question the value of language  
• Has lost its ability to communicate 
• Attempts at communication often 'disintegrate' from clichés to meaningless syllables
• Demonstrate the inability of language to bridge the gap between the characters
• Present the dehumanising, automatisation and meaningless of the human existence
• Present the unexpected, the bizarre and the absurd 
• Portray silence as a means of communication  
• Demonstrate the meaninglessness of conversations  
• Are constructed as 'habitual' and superficial  
• Are used as to escape from the tediousness of lives 
• Construct new words 
• Are banal daily conversations and mixed with literary language, puns, clichés, slang  and repetitions which are interspersed with poetic language 
• Are a repetition of a style of dialogue and is used to emphasise the cyclic nature of life 

Themes are based on the: 

• Temporality and evanescence of 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  
• Man's terror 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 are illusory 

POSTMODERNISM 
Intention and purpose. Postmodernism: 

• Developed from the Absurdist point of view 
• Rejects the certainties of the modern era  
• Rejects 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 his/her 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  Pastiches: 
• Visual arts techniques of different images, media forms, etc. are pasted together to  create one piece 
• References and layers of different texts and images 
• Non-linear in construction

Metatheatre/Text: 

• Reminds viewers that they are in the theatre 
• Contains characters that can step out of character and communicate with the  audience 
• Used to reflect on the art work itself 
• Non-linear in construction 
• Reflexive 
• Used to make events non-essential 
• Used to pose theories or ideas 
• Broken up  
• 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
• Not based on an antagonist – there is no guilty party 

Rehearsal processes are: 

• Improvised 
• Changed 
• Revised 
• Updated 
• Continually transformed through performance  

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 
• Characters and people 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 
SOURCE B 
2.1 

Markers accept any relevant answers.  
The following is a guide: 
Albert: 

• Is Chief Albert Luthuli, one of the South African struggle heroes 
• Represents freedom fighters the people wish to raise (2) 

2.2 

Markers accept any relevant answers which reflect knowledge of the original  production of Woza Albert!. 
Award full marks for: 

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

The following is a guide: 
Vocal Skills: 

• Actors sing and use their voices to make music, e.g. Jazz band in scene 1 • Music is live, immediate and spontaneous, e.g. actors sing freedom songs Physical Skills 
• Actors create rhythmic noises by stamping their feet, e.g. toyi-toyi 
• Use their bodies to create a jazz totem (4)

2.3 

Markers accept any relevant answers which reflect an understanding and  analysis of how pre-recorded music might change the impact of the play. 
The following is a guide: 
Pre-recorded music: 

• Might detract from the immediacy and live elements of performance • Removes the capacity of the actor to show creativity and variety in  performance 
• Might create technical problems in production which may interrupt the  performance (3) 

2.4 

Markers accept any relevant and well-motivated answers which display an  evaluation of the continued success of Woza Albert!. 
Award full marks for: 

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

The following is a guide: 
Woza Albert! provides audiences with: 

• Entertainment through the use of a variety of characterisations, song,  dance, mime, etc. while at the same time creating awareness of the  sociopolitical situation 
• Education, highlighting apartheid issues e.g. pass laws 
• Impetus for mobilisation of the masses to action, e.g. toyi-toyi, rousing  songs at the end of the play 
• Themes and messages which are still relevant to audiences of today,  e.g. education, poverty and exploitation of workers etc. 
• Language and dialogue which is accessible to the masses 
• Stereotypical characters who are easily recognisable (4)

2.5.1

Markers accept any relevant answers which display the selection of a different  genre, e.g. realism.(1) 
2.5.2

Markers accept any relevant answers which describe a scene from the play,  e.g. 'I would select the barber shop scene in which the barber cuts the  customers' hair and is interviewed by Skulu.' (2) 
2.5.3 

Markers accept any relevant and well-motivated answers which display  creativity and the application of the chosen style of performance as selected in  QUESTION 2.5.2 in the staging of their scene. 
Award full marks for: 

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

The following is a guide:  
Genre of performance, e.g. realism might include: 

• Recorded sound which might be played instead of having actors using  their voices to produce sound and sound effects, e.g. the sound of a  moving train, helicopter, truck in motion, etc. 
• Various lighting techniques to enhance the realistic nature of the scene • Acting which is realistic  
• Realistic set, props and costumes (6)

2.6 

Markers accept any relevant and well-motivated answers which display an  analysis and evaluation of the effectiveness of all the elements of the final  scene to make it a 'thrilling conclusion' and have the ability to inspire solidarity  and action. 
Award full marks for: 

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

The following is a guide: 
The final scene: 
Action: 

• Calls for action: the struggle heroes are raised to assist the people to fight  against the evils of apartheid 
• Gives hope of a better future to the oppressed  
• Inspires the people to work together to effect change in their lives and  communities 
• Encourages the audience to be active as opposed to being passive, thus  taking action together in solidarity 
• Reminds the audience of the sacrifices of the struggle heroes 

Performance style: 

• Animated singing and dancing 
• Emotionally rousing statements 
• Evocative invoking of the spirit of dead struggle heroes  
• Inclusion of the audience through direct addressing of the audience
• The audience might also participate in the chanting and singing (6)

2.7 

Refer to the notes and the rubric in the annexure to guide your marking. 
Markers accept any relevant and well-motivated answers which reflect  understanding, analysing, evaluating, applying and creating, based on the  subject matter of the question. Candidates must refer to specific examples  from the play text and current events. 
The following is a guide: 
Exploitation 

• Workers are still exploited by unscrupulous bosses, e.g. in the play text  Baas Kom is exploiting the workers in Coronation brick yard by making  them work hard yet he pays them minimum wages 
• They work long hours for very little pay 
• There is unfair treatment by management, e.g. Bobbejaan and Zuluboy  are not treated the same by their employer 
• There is suppression of worker rights e.g. Baas Kom threatens to fire his  workers because they complain about the poor working and living  conditions 
• Unfair pay structures further exploit workers 
• There are few jobs and many people are seeking employment  Working Conditions 
• Many people are forced to work at low paying jobs because of a lack of  skills and education 
• Although we have unions fighting on behalf of workers and the basic  conditions of service have improved, many people struggle because of  the lack of jobs due to the poor economic growth in the country 

Poverty 

• Rising cost of living and inflation affects standard of living 
• This leads to lack of housing and basic amenities  
• Unemployment leads to poverty 
• There is a great divide between rich and poor 
• Retrenchments are common 
• Burgeoning squatter settlements affect poor living conditions 
• The influx of foreigners affects the number of jobs available 

Policing 

• There was and still is distrust of the police, with many communities openly  defying the police 
• Perceived corruption within police ranks today has added to the fear and  suspicion of the people  
• In many instances the police have used unnecessary force and brutality  leading to the deaths of civilians (Marikana massacre).
• Police still use brutality when confronting protestors and suspected  criminals 
• As a result, people take the law into their own hands through vigilantism Racism and discrimination 
• Is prevalent in various forms in the play text and currently, e.g. Pass Laws
• Is seen in hate speech, channelled through social media platforms
• Intolerance of language, culture and religion during apartheid and today (10) [40]

QUESTION 3: SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY  
3.1.1 

Markers accept any relevant answers which demonstrate an understanding  of appropriate mood.  
Award full marks for: 

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

The following is a guide: 
The mood created by song is : 

• Tense because of the threatening nature of the lyrics 
• Anger because it expresses, using exclamation marks to suggest a loud  volume, the feelings of the people 
• Threatening because of the stage directions in line 1.('The company  storms onto stage')  

The effect on the audience is possibly: 

• Similar tension because the audience knows a threat may turn into  conflict or even violence 
• Similar anger is experienced because the audience may share the feeling  of injustice perpetrated by the apartheid government 
• A feeling of intimidation because the group of actors storming on stage  may be overwhelming and the audience cannot leave the performance  space (2) 

3.1.2 

Markers accept any relevant and well-motivated answers which demonstrate  an understanding of what the car represents. 
Award full marks for: 

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

The following is a guide: 
The car, as a symbol, represents: 

• The mobilisation of the residents of Sophiatown 
• The inevitable movement towards change/revolution 
• Revolution that is swift and silent ( line 8) 
• A threat, e.g. lines 5 and 10 because 'chips' means 'beware' 
• Aggressive protest, e.g. line 12 'it's going to run right over you (4)

3.1.3 

Markers accept any relevant and well-motivated answers which reflect an  understanding of the purpose of the song. 
Award full marks for: 

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

The following is a guide: 
The song as a theatrical device: 

• The theme informs the audience about how the characters feel towards  the apartheid government  
• The rhythm and beat drives the protest 
• The emotive nature shows the heightened emotions of the characters
• A structural inclusion in the plot serves as a link between two scenes (2) 

3.1.4 

Markers accept any relevant and well-motivated answers which reflect the  candidates' understanding of the use of a variety of languages in the play. Award full marks for: 

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

The following is a guide: 
The creators decided to use a variety of languages because:

• The play is a reflection of Sophiatown, the place and the people who lived  there 
• It was necessary to make the play authentic 
• It attracts and reaches a wider range of audiences  
• Sophiatown the place is multi-cultural 
• It makes the situations and characters more authentic (truthful) (4)

3.1.5 

Markers accept any relevant and well-motivated answers that demonstrate  creativity in the staging of the scene. 
Award full marks for: 

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

The following is a guide: 
Message: 

• The residents of Sophiatown are giving a warning to the 'Boere' and the  then Prime Minister 'Strijdom' 
• The car is symbolic of how they will drive the 'Boere' out 

Staging: 

• The movement should reflect the mood and meaning of the scene
• As the car represents a threat, the actors could create a formation  representing a car/crowd of people walking as one unit to represent unity  and protest  
• Sound effects, such as hooting, shouting could be used to add to the  sense of urgency and chaos 
• Aggressive gestures may strengthen the threatening nature of the scene
• The actors could advance on the audience in order to threaten them
• They might even include audience members in this scene for solidarity (6)

3.1.6 

Markers accept any relevant answers which reflect an understanding of the  candidate's ability to reflect on the vocal and physical portrayal of a character. Award full marks for: 

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

Candidates must refer to both vocal and physical aspects 
Markers accept any relevant and well-motivated answers which display an  understanding and analysis of the vocal and physical training/skills required  from each actor. 
The following is a guide: 
Vocal skills: 

• Diaphragmatic intercostal breathing to support breathing 
• Relaxation: the absence of physical tension in the voice (e.g. neck  tension)  
• Posture to support breath and note 
• Resonance for projection and holding the emotive and tonal quality of  words 
• Articulation for clarity of expression 
• Phrasing for nuance of expression 
• Vocal variety created by pitch, pace, pause, accents, etc. 

Physical skills: 

• Neutral body 
• Movement skills 
• Internalization of emotion 
• Use of gestures and facial expression 
• Body awareness in space 
• Kinaesthetic awareness 
• Strength 
• Agility 
• Ability to transform the body into a character 
• Use of energy 

Vocal Expression 

• The actor should create the illusion of a real and natural conversation (6)

3.2.1 

Markers accept any relevant and well-motivated answers which demonstrate  an understanding of the themes of the play text. 
Award full marks for: 

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

The following is a guide: 
Societal rules or laws preventing the characters from reaching their goals  are, e.g.:  
Bantu Education Act: 

• It was an inferior kind of education system which did not equip its  recipients (non-white children) with proper work skills. This is seen through  the character of Lulu who does not want to go to school because she feels  the education she is getting is not preparing her for a bright future 

Liquor Act 

• It prevented shebeen owners, like Mamariti, from selling alcohol. The result  was that she could not make a decent living as she operated her shebeen  under the fear of being caught out and arrested by the authorities 

Group Areas Act 

• This Act prohibited people of different races from living together. However, the residents of Sophiatown defied and proved the government wrong as  they managed to live in harmony despite their vastly different cultural  backgrounds. Ruth Golden, a Jewish white girl from Yeoville, moves in to  stay in Mamariti's house, together with the other occupants of the house The Immorality Act 
• This Act prohibited people of different races from having a relationship.  Ruth and Jakes could not be in a relationship because it meant they would  be breaking the law and thus they did not explore the possibility of being  romantically involved. Princess and her photographer boyfriend fled the  country so they could be together as a couple (4)

3.2.2 

Refer to the notes and the rubric in the annexure to guide your marking. 
Markers accept any relevant and well-motivated answers that demonstrate  analysis and understanding of the different levels of conflict which reflect  the mood and messages of the play. 
The following is a guide: 

INTERPERSONAL CONFLICT: 
Princess and Ruth 
Conflict:  

• Ruth's arrival in Sophiatown makes Princess feel jealous and insecure. Decision: 
• Princess decides to voice her dissatisfaction 

Behaviour: 

• She is hostile towards Ruth. 

Consequence: 

• Princess is abused by Mingus. Lulu invites Ruth to stay with her and  Mamariti. Ruth helps Lulu with her homework. 

Mamariti benefits financially by Ruth staying with her in the house. Jakes sees Ruth's arrival as an opportunity for him to write a real story  that will impact on people's lives and possibly earn him a promotion as  a feature writer. 
Mingus and Charlie 
Conflict: 

• The oppressive apartheid laws create conflict between Mingus and  Charlie as Charlie cannot move with Mingus to Meadowlands because  Charlie is coloured and Mingus is black.  
• For the first time Charlie is forced to accept that he has a different racial  classification to Mingus and the rest of the occupants in Mamariti's house Decision: 
• Mingus leaves Charlie and moves to Meadowlands. 

Behaviour: 

• Mingus had to accept that he could not take Charlie. 

Consequence: 

• They have to part ways, end a very strong bond and relationship.
• Charlie has to fend for himself now because he cannot depend on Mingus any longer 
• Charlie is stabbed to death

INTERNAL CONFLICT: 
Jakes and Ruth: 
Conflict: 

• Jakes and Ruth are both observers by nature, but they feel a duty to be  more involved in the struggle against societal oppression. 

Behaviour: 

• Neither Jakes nor Ruth expresses their true feelings for each other. Decision: 
• They both battle with their sense of social responsibility when they have to  decide whether or not to pursue a romantic relationship. 
• Ruth finds herself having to decide whether or not she should go back to  Yeoville now that she has experienced a different kind of life from the one  she was used to, which goes against her natural desire to stay with Jakes,  but she is pressured by the apartheid laws of the country. (12) [40]

QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS 
4.1 

Markers accept any relevant answers which demonstrate an understanding of  the setting of the play. 
Time 

• During the 1970s 

Place  

• Southern Johannesburg suburb (2) 

4.2 

Markers accept any relevant answers which demonstrate an understanding of  the dramatic structure of the play. 
The following is a guide: 
Dramatic Structure: 

• Well-made play form 
• Linear structure 
• Clear cause-to-effect arrangement of events 
• Well-motivated action (1)

4.3 

Markers accept any relevant and well-motivated answers which reflect an  understanding of how the time lapse in the play reflects the realistic nature of  the play. 
Award full marks for: 

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

The following is a guide: 
Time and Action: 

• The play takes place in the course of a Friday afternoon into the Friday  evening 
• The final scene takes place on a Saturday afternoon 
• The lapse of time is realistic as the action develops chronologically (2) 

4.4 

Markers accept any relevant and well-motivated answers which reflect an  understanding of the character of Ma. 
Award full marks for: 

• Three separate observations about Ma's character 

The following is a guide: 
Ma: 

• Lives in a poor suburb in Southern Johannesburg 
• Lives out of wedlock with Giel 
• Lives off Pa's pension after he disappeared 
• Had children with two different men  
• Does not want her children to make the same mistakes she made (3)

4.5 

Markers accept any relevant and well-motivated answers. Acknowledge  reasons which reflect knowledge of Ma's character. 
Award full marks for: 

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

The following is a guide: 
Costume 
Ma could wear: 

• Clothing which is purely functional  
• An angular, faded floral dress with well-worn shoes which may reflect her  tired disposition and her poor circumstances (4) 

4.6 

Markers accept any relevant and well-motivated answers which display an  understanding of the vocal and physical skills required from each character. Award full marks for: 

• Three well-motivated statements or 
• Only if candidates referred to both vocal and physical aspects 

Vocal Skills: 

• Diaphragmatic intercostal breathing to support breathing 
• Relaxation: the absence of physical tension in the voice (e.g. neck  tension)  
• Posture to support breath and note 
• Resonance for projection and holding the emotive and tonal quality of  words 
• Articulation for clarity of expression 
• Phrasing for nuance of expression 
• Vocal variety created by pitch, pace, pause, accents

Physical Skills: 

• Neutral body 
• Movement skills 
• Internalization of emotion 
• Use of gestures and facial expression 
• Body awareness in space 
• Kinaesthetic awareness 
• Strength 
• Agility 
• Ability to transform the body  
• Character 
• Use of energy (6) 

4.7 

Markers accept any relevant answers which discuss the significance of the  'enkelgarage' to the action of the play. 
Award full marks for: 

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

The following is a guide: 
The 'enkelgarage 'is significant because: 

• It reflects the impoverished environment the characters find themselves in 
• It is the space into which Tjokkie retreats in order to escape the realities of  his surroundings 
• It is where Giel and Jakes bully Tjokkie into 'seeing' which is pivotal to the  action of the play 
• It is the place where Tjokkie eventually commits suicide (6)

4.8 

Markers accept any relevant answers which reflect the candidates' understanding of the dramatic value of the 'AT YOUR OWN RISK' sign. Award full marks for: 

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

The following is a guide: 
The 'AT YOUR OWN RISK' sign could indicate: 

• Impending danger, e.g. Giel and Jakes bullying Tjokkie, Jakes assaulting  Tiemie, etc. 
• Future tragedy, e.g. Tjokkie's suicide 
• The sadness and hopeless futures of the suburbs' inhabitants (4) 

4.9 

Refer to the notes and the rubric in the annexure to guide your marking.
Markers accept any relevant and well-motivated answers which reflect  understanding, analysing, evaluating, applying, creating and drawing conclusions around the subject matter of the question.  
The following is a guide: 
Characters are: 

• Believable and the audience can relate to them, e.g.:
  • Tiemie is desperate to escape her environment like anybody who  lives in poverty
  • Jakes bullies those around him with aggression and violence to get  what he wants
  • Ma wants the best for her children but she is powerless to prevent  her children from falling prey to their poverty stricken environment
  • Giel sponges off Ma and does not really protest when she declines to  marry him, as he relies on Ma's pension etc.

Conflict is: 

• Believable, e.g.:
  • Jakes and Giel bully Tjokkie into 'seeing'
  • Jakes assaults Tiemie as he wants to be in control at all times 
  • Giel is financially desperate and resorts to gambling
  • Tiemie does not want to make the same mistakes as Ma and refuses  to marry Jakes 

Dialogue: 

• Realistic and relevant to time and place as it reflects the culture and era of  the characters 
• The characters act contrary to what they consciously want which creates  tension and ultimately violence as they are unable to express themselves
• The dialogue is pessimistic and reflects a sense of hopelessness Relevance to society today: 
• The events in the play can still be happening right now, e.g. in the Cape  Flats things are often still done in exactly the same way it was done  40 years ago 
• Awareness is created in the audience about people and their lives who  would otherwise be forgotten 
• Many people today are desperate to escape the circumstances and  situations they find themselves in and would therefore relate to the play (12) [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 any relevant answers. 
Award full marks for: 

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

The following is a guide: 
The actor may decide to: 

• Creep into the room so that he will not be noticed
• Walk on tip toe
• Walk quietly so he will not be noticed by the other characters (2) 

5.2 

Markers accept any relevant answers. 
Sipho's entrance might add to the dramatic tension because: 

• He walks in on a conversation about him 
• Mandisa is encouraging Thando to be disrespectful towards him 
• This fuels his anger and bitterness 
• The situation reminds him of Themba (3)

5.3.1 

Markers accept any relevant answers. 
Thando is excited because she: 

• Is eager to go to Johannesburg with Mandisa 
• Has never travelled on her own 
• Cannot wait to experience new things 

Thando is confused because she:  

• Has not done something like this before 
• She is concerned about what her father might say 
• She has never gone anywhere without her father's permission (2) 

5.3.2 

Markers accept any relevant and well-motivated answers which display an  understanding of vocal and physical skills. 

• The scene is realistic and should reflect the illusion of a real conversation
• The actors' understanding of the thoughts and feelings should reflect the  characters' relationships at this point in the play and elicit an authentic  response, e.g. Thando's excitement and confusion 
• The actor should live 'in the moment' and vocal and physical responses  could therefore vary from performance to performance but will always be  realistic and true 

Vocal Skills: 

• Diaphragmatic Intercostal breathing to support speech 
• Relaxation: the absence of physical tension in the voice (e.g. neck  tension)  
• Posture to support breath and note 
• Resonance for projection and holding the emotive and tonal quality of  words 
• Articulation for clarity of expression 
• Phrasing for nuance of expression 
• Vocal variety created by pitch, pace, pause, accents 
• Ability to deliver realistic dialogue and appropriate accent 

 Physical Skills: 

• Neutral body 
• Internalization of emotion 
• Use of gestures and facial expression 
• Body awareness in space (4) 

5.3.3

Mpho's influence on Thando: 

• Although he is an off-stage character, his influence on Thando is  presented realistically through her dialogue and choices 
• He is engaged to Thando. This provides another level of realism which  adds to the believability of characters on stage 
• Provides an element of tension which tears Thando from Sipho's  paternalistic hold (3)

 5.4 

Markers accept any well-motivated answers which reflect an analysis of the  conflict between Sipho and Mandisa. 
Award full marks for: 

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

The following is a guide: 
Conflict occurs because: 

• Mandisa represents Western culture and traditions and Sipho is a  traditional African man 
• Mandisa prods at and questions his motives and belief. Sipho finds this  threatening as he does not want to reveal the truth about her father
• The familial relationship starts tense as Mandisa brings back Sipho's  brother's ashes 
• Sipho is bitter about Mandisa's father's past and, because Themba  is dead, Sipho can only take out his anger on Mandisa. 
• Mandisa encourages Thando to break away from her father's traditional  ways (4)

5.5.1

Markers accept any well-motivated answers which reflect an analysis of  Sipho's statement. 
Award full marks for: 

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

The following is a guide: 

• Themba, Mandisa's father, abandoned Sipho and betrayed his respect  and trust by having an affair with Sindiswa, Sipho's wife 
• Themba also 'took' Sipho's wire bus, blazer and education 
• Sipho believes that Mandisa does the same by taking Thando away from  him and disrespecting Siphos traditions and what he holds dear (6) 

5.5.2 

Markers accept any well-motivated answers which reflect an understanding of  an authentic vocal expression of Sipho's feelings. 
The following is a guide; 
Sipho is angry, bitter and hurt and the tone of his voice should reflect this.  His tone might communicate: 

• Sarcasm 
• Bitterness 
• Hurt 
• Anger (2)

5.6 

Markers accept any well-motivated answers which reflect an understanding  and analysis of Mandisa's sense of humour and point of view about the  situation. 
Award full marks for: 

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

The following is a guide: 
The statement is humorous because: 

• It reflects on a previous instance when Sipho crept up on Mandisa and  Thando and eavesdropped on their conversation about the TRC 
• Mandisa makes a joke about how quietly Sipho is able to walk/ approach  in his shoes 
• Her suggestion of squeaky shoes makes light of the situation (4)

5.7 

Refer to the notes and the rubric in the annexure to guide your marking. 
Markers accept any relevant and well-motivated answers which reflect  understanding, analysis, evaluation, application and draw conclusions around  the subject matter of the question. Acknowledge creativity in this answer. The following is a guide: 
The realistic nature of the play is supported by: 
Language: 

• Is conversational and suits each of the characters 
• Is everyday dialogue and often serves to conceal, rather than reveal  feelings 
• Is nuanced with feeling and intention 
• Is realistic, which is believable and appropriate 

Characters: 

• We see the development of relationships between characters 
• Are based on autobiographically real members of the playwright's own  family 
• Are 3-dimensional and have a past and a potential future 
• Gradually reveal inner truths as the play progresses 
• Represent modern and traditional life and values 
• Are motivated by their own personalities, heredity and environment 

Staging: 

• Is a real life setting of 46 Madala Street, New Brighton 
• Is realistically constructed to scale of a typical RDP house 
• Attention to detail in set, props and costumes add to the realism 
• Relationships between characters are reflected in the blocking (10) [40]

QUESTION 6: GROUNDSWELL BY IAN BRUCE 
6.1 

Markers accept any relevant answers.  
The following is a guide: 
The play could be classified as EITHER : 

• Realism OR 
• New Realism (1) 

6.2 

A: Thami 
B: Smith 
C: Johan (3)

6.3 

Markers accept any relevant and well-motivated answers which display an  understanding and analysis of how costume realistically reflects character,  role and situation. 
Award 2 marks for each costume. 
The following is a guide: 
THAMI 

• Manager of Garnet Lodge 

Character: 

• Reliable, hard-working and honest man 

Situation: 

• Desperately trying to make ends meet and support his family in the  Eastern Cape 

Costume: 

• Dressed in overall jacket and simple white shirt 
• Suitable work clothes for work at Garnet Lodge 

SMITH 

• Wealthy, retired businessman 

Character: 

• Has a white superiority complex, paternalistic 

Situation: 

• He has come to the guesthouse as a stopover on his world journey to find  new golf courses 

Costume: 

• Dressed casually as he is retired and a guest at the lodge 
• Leather belt is smart 

JOHAN 

• Diver and part-time maintenance manager at the Garnet Lodge 

Character: 

• Grief-stricken, broken and exiled 

Situation: 

• Looks for redemption and belonging 

Costume 

• Oil skins suitable for working on boats in the rain and on the sea 
• Waterproof against the elements 
• Hair is also wet to depict his work realistically (6)

6.4 

Markers accept any relevant and well-motivated answers which display an  analysis of how each character's physical and vocal expression might be  directed. 
Award full marks for: 

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

The following is a guide: 

• Actors might be alerted to their situation and the need to express  authentically their thoughts and feelings through their posture, gesture  and words. 

THAMI 
Posture: 

• His posture is stooped to show he is distressed 

Dialogue: 

• He is distressed because he wants to leave 
• His words are expressed in his own language, IsiXhosa 
• His thought processes are instinctive and his feelings are authentic • His words express his needs 

SMITH 
Posture: 

• At this point Smith seems to be magnanimous, sociable and relaxed as if  he is on holiday and in command of the situation 
• His openness of gesture and straight posture reflect his emotional state • He seems to be holding the floor in a relaxed manner with a drink in his  hand, probably regaling stories of his life 

Dialogue: 

• 'Thank you' indicates he is pleased with the situation at this time 
• Signals that he does not want to continue with the dialogue 

JOHAN 
Posture: 

• His awkward posture and sideways glance reflect someone who is not  comfortable with his situation 
• His open chest shows he is not afraid 

Dialogue: 

• His words are threatening 
• Full of aggression and threatening (6)

6.5 

Markers accept any relevant and well-motivated answers which display an  understanding and analysis of the complexities of each character and how the  tension is created between the characters in the play because of their  personal desires. 
Award full marks for: 

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

The following is a guide: 
Each character has a personal agenda and is using the others to achieve their  own goals and dreams in life.  
THAMI 

• His poverty and home situation drive him to desire wealth through  acquiring diamonds 
• His desperation creates tension between himself and Johan 
• He is torn between Smith as a guest and Johan as a friend when Johan  becomes aggressive with Smith 
• His difference of opinion in how to handle the business negotiations with  Smith creates conflict with Johan  
• He, unlike Johan, has a home to return to and Johan is hurt by this 

SMITH 

• Although he has wealth, it has lost meaning for him and he is looking for  happiness and a golf course 
• He is lonely 
• He pulls away from Johan's aggressive approach towards him to invest in  the diamond deal 
• He is not prepared to invest in anything other than the enjoyment of his  retirement 
• This causes tension 

JOHAN 

• Seemingly strong and tough, he is an outsider 
• He is desperate for redemption and to make meaning out of his  relationship with Thami 
• He tries to 'take' this from Smith 
• He has no home, unlike Thami, to return to 
• His friendship with Thami is for his own gain 
• He sees Smith as his hope to make his dreams a reality (6)

6.6.1 

Markers accept any relevant and well-motivated answers. Award marks for  either arguing for or against  
Award full marks for:  

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

The following is a guide: 
The play does NOT have gender bias because: 

• It does not deal with gender stereotypes and is not focussed on gender
• Focuses on universal human issues of identity, need, home and future
• Although there is an all-male cast, the characters are strongly influenced  by the off-stage women in their lives, e.g. Johan wishes to redeem his  relationship with his wife, Thami wants to provide for his wife (4)

6.6.2  

Markers accept any relevant and well-motivated answers which evaluate the  differences/ similarities of an all-female cast. 
Award full marks for:  

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

The following is a guide: 
Social-media bias: 

• Tweets reflect a personal bias or point of view 
• Any reader of a tweet should critically assess the motive and tone of  the 'tweeter' 
• The recipient of the tweet should filter his/her response through critical  analytical eyes and not accept the tweet as the truth 
• A person should watch the play for him-/herself and form his/her own  opinion 
• Knowledge of the play will inform the reader of the fact that the play does  not display gender bias and everybody will enjoy studying the play 
• Reflects the importance of an awareness of critical thinking skills (4)

6.6.3 

Refer to the notes and the rubric in the annexure to guide your marking. 
Markers accept any relevant and well-motivated answers which reflect  understanding, analysis, evaluation, application and draw conclusions around  the subject matter of the question. Acknowledge creativity in this answer. Studying and watching the play: 

• Engages us with universally relevant themes and issues, e.g. identity,  belonging 
• Is exciting as it holds the arc of dramatic tension through its realistic  nature and structure 

Characters: 

• Are mysterious and interesting 
• Develop and grow and this leads to interesting relationships between the  characters which creates a dynamic interplay between them 
• Deepen our understanding of the sociopolitical context in South Africa,  historically and presently  
• Sensitizes us to the complexity and diversity of character  

Sense of Belonging and Identity: 

• To a large extent these three men's lives were shaped and defined during  the apartheid era.  
• There is also no physical reason why Johan and Thami can't plan to be  neighbours.  
• The obstacles are internal. Each man is trying to find out who he is in the  new South Africa, how he fits into it.  
• At the same time each man remains bound to a view of himself that  reflects the past and obstructs the ability to adapt.  (10)   [40]

QUESTION 7: MISSING BY REZA DE WET 
7.1.1 

Markers accept any relevant answers.  
The following is a guide: 
The date is significant because: 

• Each year on 31 August a girl goes missing 
• It is the evening before 1 September – Spring Day. Spring implies new  life, a new beginning or growth. The fact that both previous mysterious  disappearances occurred during the same night, implies that those girls  were liberated from their oppressive existence, and then advanced  towards a new way of living (1) 

7.1.2 

Markers accept any relevant answer. 
The following is a guide: 
The wind creates a haunting and ominous atmosphere. There are  different kinds of wind: 

• A whining wind that depicts Meisie's melancholic/sad state of mind, giving  ghostliness to the drama. This wind sounds like whispering voices or  luring calls from outside. 
• Soft gusts of wind that coincide with the narration of Meisie about her  secret visit to the circus. These gusts of wind sound like soft, luring calls  from outside. This symbolises Meisie's need to be free, to go outside.  The wind that blows in gusts indicates that her need only comes to the  front occasionally. 
• Hard gusts of wind during Konstabel's narration of the solar eclipse. This  wind gives a bizarre emotional quality to the narration. The falling quinces  and flowers that fly away in the garden, give the narration a dream-like quality (1)

7.1.3 

Markers accept any relevant and well-motivated answer.  
Award full marks for:  

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

The following is a guide: 
The circus music is significant because: 

• It represents the supernatural forces associated with the unknown 
• It is the enticing voice of the unknown, calling Meisie to the outside.  Meisie knows her mother forbids her from listening to it. This is something  she has to resist together with her mother. In the closing scene she still  covers her ears not to hear it, but then she gives up and leaves the house  dancing – to freedom. When she opens the door, the music enters the  house undisturbed. Bear in mind that the kitchen door remains open.  In the closing scene it seems that the music is intended to capture the  emotions of the audience too. (2) 

7.2 

Markers accept any relevant and well-motivated answers which reflect an  understanding of the symbolic significance of the colour of the confirmation  dress. 
Award full marks for:  

• One well-motivated statements or 
• Two separate thoughts/ideas 

The following is a guide: 
The colour white refers to the fact that Meisie could be seen as: 

• Pure and virginal 
• A girl who has the potential to develop into a budding flower 
• A contrast to the contamination (manure, manipulation, circumstances  etc.) of her surroundings (2)

7.3 

Markers accept any relevant and well-motivated answers which reflect an  analysis of how the advertisement creates a mysterious mood. 
Award full marks for:  

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

The following is a guide: 
A mysterious mood is created by the: 

• Mentioning the disappearance of a girl on 31 August each/every year • Using emotive words, such as 'howling', 'anxious', 'unfamiliar', etc. (4) 

7.4 

Markers accept any relevant and well-motivated answers which display an  evaluation of how the picture could be suitable or not suitable as an  advertisement for the play. 
Award full marks for:  

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

The following is a guide: 
The picture is suitable because:  

• The house is small and gives the idea of a claustrophobic environment  which is appropriate for the anxious atmosphere in the house 
• The derelict state of the house could point to the poverty of the house's  inhabitants 
• The unkempt and desolate surroundings could add to the isolation and  vulnerability of the women in the house 

The picture is not suitable because: 

• The play takes place during the evening and in the picture it is clearly  daylight 
• It does not capture the mysterious mood reflected in the play because it  may be seen as an ordinary farmhouse (4)

7.5 

Markers accept any relevant and well-motivated answers which reflect an  understanding of technical considerations. Candidates may choose any  relevant stage.  

The following is a guide: 

Proscenium arch stage because: 

• It is a stage type that hides the technical workings of lighting, sound,  mechanics, etc. from the audience 
• It assists with creating an illusion of 'real life' 
• The descending slops bucket could be hidden by the proscenium arch • It could conceal the entrances and exits of the actors realistically 
• Lighting grids could be hidden realistically 
• The action takes place in a room which could be reflected by a box set Candidates may also choose to include alternative ideas, such as using: • Multi-media 
• Interesting entrances and exits (6) 

7.6 

Markers accept any relevant and well-motivated answers which display an  understanding of how props can be used to highlight the messages of the  play.  
Award full marks for:  

• Two well-motivated statements 

The following is a guide: 
The following props could be used: 

• Candle-holder with candle could symbolise the characters' search for truth
• Constable's cane – emphasises the idea of blindness and hiding the truth
• The manure bags – Miem and Meisie live in poverty and are desperate to  make a living (4)

7.7 

Markers accept any relevant and well-motivated answers which display an  understanding and analysis of the significance of blindness as a motif in the  play.  
Award full marks for: 

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

The following is a guide: 
Blindness is a motif because: 

• Initially Miem complains about the fact that she cannot see well anymore.  Meisie has to put the thread through the eye of the needle. This reference  entails more than merely the loss of sight due to old age. It also refers to  her inability to see the truth, to see what is happening around her – how  she is smothering Meisie. She refers to the other girls who disappeared  and the faults of their parents, but she is too 'blind' to see that she is  making the same mistakes. She also trusts Konstabel blindly. 
• The constable is blind – very strange for someone in his profession. He  tells how he became blind but at midnight he can see again 
• Miem says everybody pretends to be blind, i.e. nobody wants to  understand what is happening 
• Konstabel says they are obsessed by facts ('staar hulle blind teen feite').  This can also refer to the title, i.e. Missing. All of them are missing the  point ('het dit mis'). 
• Konstabel refers to things that have been overlooked ('wat misgekyk is') 
• Meisie asks the constable whether he has seen the circus yet, and then  realises her mistake. Little does she know that he can see 
• 'Tant' Salie's cataracts are also an indication of blindness. Take notice of  the fact that she sees by means of dreams 
• We find the expression 'om iemand uit die oog te verloor' (to lose sight of  somebody) 
• When Konstabel talks about the solar eclipse, he 'sees' it again 
• Konstabel can 'see' after midnight (6)

7.8 

Refer to the notes and the rubric in the annexure to guide your marking.
Markers accept any relevant and well-motivated answers which reflect  understanding, analysis, evaluation, application and draw conclusions around  the suitability of the play being staged at school.  
The following is a guide: 
Themes: 

• Themes and issues are familiar and relatable to current audiences, e.g.  Meisie's yearning for freedom  
• It teaches about the stifling nature of Afrikaner Calvinism in some  Afrikaner households 

Characters: 

• Characters are recognisable, interesting and relatable, e.g. Miem is  overprotective of Meisie 
• Some mothers are similar to Miem and their daughters react in the same  way as Meisie 

Genre: 

• Play may captivate audiences with its fairy tale references and Magical  Realism, e.g. Little Red Riding Hood, Cinderella, etc. because it  stimulates the imagination 
• Mystery of the missing girls may intrigue audiences 

Budget: 

• Budget required for the play can be kept to a minimum, e.g. only four  actors required, could be staged in a minimalist fashion, basic costume  and makeup, found materials could be used for props, etc. 

Staging: 

• Could be staged and other schools invited as it is offered as a setwork
• The play could be staged in any venue at the school 

Relevance: 

• Message is universal and contains value and meaning for a modern  audience 
• Theme of liberation is important to show how people need to get rid of  their narrow-minded thinking 
• Audience members would identify easily with the characters, e.g. strict,  overprotective mother (10) [40]

TOTAL SECTION C: 40

SECTION D: THE HISTORY OF THEATRE, PRACTICAL CONCEPTS, CONTENT  AND SKILLS 
QUESTION 8 
8.1 

A: Backdrop/Cyclorama/Scenery 
B: Stage/Stage floor (2) 

8.2 

Markers accept any relevant and well-motivated answers which display the  candidates' knowledge of how certain props could have various theatrical  uses. 
Award full marks for:  

• Two thoughts/ideas 

The following is a guide: 
The ladders could be used to symbolise:  

• Mountains 
• Buildings with floor levels 
• Hierarchy 
• Development (4)

8.3 

Markers accept any relevant and well-motivated answers which display an  understanding and discussion of how the staging in the source reflects any  ONE of the 20th century movements '-ism'. 
Award full marks for:  

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

The following is a guide:  
The staging could reflect, e.g. Epic Theatre/Expressionism, because: • It utilises representational props as multifunctional items on stage 

• Artistic representation of a tree against the backdrop might depict the  inner turmoil and following spiritual growth of the characters on stage 
• Ladders on stage could emphasise the characters' need to climb the  ladders of success (4) 

8.4 

Markers accept any relevant and well-motivated answers which display an  understanding of Grotowski's staging. 
Award full marks for:  

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

The following is a guide: 
For the production of Kordian, Grotowski applied his Poor Theatre  principles by: 

• Eliminating the stage 
• Using flexible staging 
• Including the audience in the production, on stage, and calling them  spectators 
• Using various levels for a more dynamic and interactive performance  experience 
• Creating a fluid performance space where spectators have multiple focal  points  
• Creating a cramped and claustrophobic environment to emphasise the  ideas of the play (4)  

8.5 

Markers accept any relevant and well-motivated answers which demonstrate  an understanding of Grotowski's principles of acting. 
Award full marks for:  

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

The following is a guide: 
Grotowski's acting principles: 
The Holy Actor: 

• Makes a sacrifice of himself by becoming the instrument through which  Grotowski expresses his ideas 

Via Negativa: 

• The actor strips away all hindrances to acting 
• The elimination of psychological 'blocks' creates vulnerable and  spontaneous acting (4) 

8.6 

Markers accept any relevant and well-motivated answers which display an  analysis of how Grotowski's choice of set and stage might create staging  challenges. 
Award full marks for:  

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

The following is a guide: 
Grotowski might have faced challenges such as: 

• The lighting which needed to be considered carefully so that the  audience's experience of the play was not inhibited and disturbed 
• The entrances and exits of audience members needed to be considered  to add to the experience 
• The blocking of the actors which may prove difficult as there are  spectators present that were not part of the rehearsal process 
• Careful consideration of focus points for the spectators (4)

8.7 

Markers accept any relevant and well-motivated answers which demonstrate  an explanation of how Grotowski's choice of set and stage might have  impacted on an audience. 
Award full marks for:  

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

The following is a guide: 
The staging: 

• The audience would have felt closer to the action and thus more likely  to engage  
• It was a new and exciting theatre experience for audiences to feel part of  the acting space 
• The audience would have multiple focus points to keep them interested as  the acting happened around them 

The setting: 

• Is an lunatic asylum 
• The audience is made to feel as if they are patients in a psychiatric  hospital (4) [28]

QUESTION 9 

Refer to the notes and the rubric in the annexure to guide your marking. 
Markers accept any relevant and well-motivated answers. This answer should take the  form of a personal reflection. Candidates should be awarded marks for reflecting on  their own personal involvement with any play text and performances and should refer  to dramatic processes, principles and skills. 
Play texts: 

• The reflection should include an analysis and evaluation of elements of the play  texts studied, e.g. language, themes, characters which promote the aims of the  National Curriculum, e.g. truth, forgiveness, justice and reconciliation in Nothing  But The Truth. 

Perfomances: 

• An analysis of dramatic principles evident in productions seen should be evident in  the candidate's answer, e.g. the use of space, genre, actor-audience relationship,  etc. to promote human rights, inclusivity and environmental and social justice, e.g.  A Doll's House reflects the theme of the equality of women. 

Productions: 

• Personal experience of acting should reflect skills used for performance, e.g.  relationships with others, ensemble work, respect for others in rehearsal. [12] 

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

ANNEXURE C: BASIC CONSTRUCTED RESPONSE RUBRIC (BCR) 

SHORT CONSTRUCTED RESPONSE RUBRIC (SCR) 

EXTENDED CONSTRUCTED RESPONSE RUBRIC (ECR)

ANNEXURE D 
BLOOMS' TAXONOMY