ENGLISH FIRST ADDITIONAL LANGUAGE
PAPER 3
GRADE 12 
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 2018

INSTRUCTIONS TO MARKERS 

1. Candidates are required to answer ALL the questions. 
2. This marking guideline serves as a guide to markers. Some responses may  require a marker's discretion, while others may be expanded at the national  marking guideline discussion.
3. Candidates' responses should be assessed as objectively as possible.

MARKING THE COMPREHENSION 

• Because the focus is on understanding, incorrect spelling and language errors in  responses should not be penalised unless such errors change the  meaning/understanding. (Errors must still be indicated.)
• If a candidate uses words from a language other than the one being examined,  disregard those words, and if the answer still makes sense, do not penalise.  However, if a word from another language is used in a text and required in an  answer, this will be acceptable.
• For open-ended questions, no marks should be awarded for YES/NO or I  AGREE/I DISAGREE. The reason/substantiation/motivation is what should be  considered.
• When one-word answers are required and the candidate gives a whole sentence,  mark correct provided that the correct word is underlined/ highlighted.
• When two/three facts/points are required and a range is given, mark only the first  two/three.
• Accept dialectal variations.
• For multiple-choice questions, accept BOTH the letter corresponding with the  correct answer AND/OR the answer written out in full.

MEMORANDUM

SECTION A: COMPREHENSION 
QUESTION 1  
1.1.1

• A learner's academic ability. ✔
• Their field of interest. ✔
• The field that offers the best opportunity. ✔
  NOTE: Accept any TWO of the above answers. (2)

1.1.2 Matric learners have a wider choice of career opportunities. ✔ (1) 
1.2 To attract young people to careers in this field of study✔ and to help protect  invaluable ocean resources and the coastline. ✔ (2) 
1.3
1.3.1 'piloted'✔ (1)
1.3.2 The format is the same. ✔ (1) 
1.3.3 Not much research has been done on the ocean (and its  resources.) ✔ (1) 
1.4
1.4.1

• The learners are not real biologists. ✔
• They only completed the  five- day course successfully. ✔/
• The term is used in a unique way ✔because a distinction is being made by using the word  ‘young’. ✔/
• It is the name of the course.✔ (2)

1.4.2 They were volunteers and were therefore not paid. ✔ (1)
1.4.3 B/ being impressive. ✔ (1) 
1.4.4 The course must give learners practical experience✔in order to  give them a better understanding of the ocean and its resources. ✔ (2) 
1.5

• She is passionate about what she does/penguins. ✔
• She is committed to her work./She is hardworking. ✔
• She does not expect money/remuneration for the work she does. ✔
• She is willing to share her expertise/experience/knowledge freely. ✔
  NOTE: Accept any ONE of the above answers. (1) 

1.6

• To show how learners can benefit from the course by being awarded  bursaries. ✔
• It also inspires learners to pursue this course. ✔
• It shows the progress/success of the course. ✔ 
   NOTE: Accept any TWO of the above answers. (2)

1.7

• No. Marine scientists spend about three weeks in the ocean✔ and the rest of  the time they do research and analysis of information and data. ✔
  NOTE: Do not award a mark for No only. (2) 

1.8 Students enrolled for Marine Sciences would need to be close to the ocean  for practical experience in the subject.✔ (1) 
1.9 Open-ended. Accept a suitable response, e.g. 

• Yes. Learners are made aware of the possibilities the Young Biologists course offers. It shows them how it can lead to job creation. It explains the  benefits of doing the course.
  OR
• No. Learners might not want to study Marine Sciences as it is a fairly new  subject and it is still in the implementation phase. The article does not state  clearly how learners who stay away from the coast will be able to pursue this  course.
  NOTE: Do not award a mark for Yes/No. Accept other suitable responses. A  candidate can score 1 mark for an answer that is not well substantiated. (2)

1.10 Open-ended. Accept a suitable response, e.g. 

• The title is suitable because the article focuses on marine/ocean studies for  learners./The title is suitable as there is a pun on the word 'diving'. Marine  studies involve some diving and it could also suggest that youngsters are very  keen to do ocean studies.
  OR
• It is not suitable as not many youngsters are doing Marine Sciences at the  moment as it is still being introduced./ Marine Sciences does not involve  much diving as more time is spent doing research.
  NOTE: Accept other suitable responses. A candidate can score 1 mark for an   answer that is not well-substantiated. (2) 

1.11 teenagers✔ (1) 
1.12 No. The graph indicates that fewer than 200 teenagers are concerned with  the cost of making a call. (1) 
1.13 The bar graph conveys the idea that the largest number of teenagers text  because they are able to multitask. (2)
1.14 Open-ended. Accept a suitable response, e.g. 

• Yes.  The image of the cellphone is linked to the contents of the bar graph and  therefore, will give the reader an immediate indication of what the graph is  about.
  OR
• No. The bar graph is self-explanatory and the image of the cellphone does not  serve any purpose.
  NOTE: Do not award a mark for Yes/No or Agree/Disagree. 
  Accept other suitable responses. A candidate can score 1 mark for   an answer that is not well-substantiated. (2) 

TOTAL SECTION A: 30

SECTION B: SUMMARY 
QUESTION 2 
The following points form the answer to the question:

MARKING THE SUMMARY  
Marking is on the basis of the inclusion of valid material and the exclusion of invalid  material. 
The summary should be marked as follows: 

• Mark allocation:
  • 7 marks for 7 points (1 mark per main point)
  • 3 marks for language 
  • Total marks: 10
• Distribution of language marks when candidate has not quoted verbatim:
  • 1–3 points correct: award 1 mark
  • 4–5 points correct: award 2 marks
  • 6–7 points correct: award 3 marks
• Distribution of language marks when candidate has quoted verbatim:
  • 6–7 quotes: award no language mark
  • 1–5 quotes: award 1 language mark 

NOTE: 

• Word count:
  • Markers are required to verify the number of words used.
  • Do not deduct any marks if the candidate fails to indicate the number of words  used, or if the number of words used is indicated incorrectly.
  • If the word limit is exceeded, read up to the last sentence above the stipulated  upper limit and ignore the rest of the summary. 

TOTAL SECTION B: 10

SECTION C: LANGUAGE 
NOTE: 

• Spelling:
  • One-word answers must be marked correct even if the spelling is incorrect,  unless the error changes the meaning of the word.
  • In full-sentence answers, incorrect spelling should be penalised if the error is in  the language structure being tested. 
• Sentence structures must be grammatically correct and given in full sentences/as  per instructions.
• For multiple-choice questions, accept BOTH the letter corresponding with the  correct answer AND/OR the answer written out in full as correct.
• Where an abbreviation is tested, the answer must be punctuated correctly.

QUESTION 3: ANALYSING AN ADVERTISEMENT 
3.1 Sore Throat Spray/A.Vogel Sore Throat Spray✔ (1)   
3.2 To attract the reader's attention./It is used for emphasis. ✔ (1) 
3.3 The image of the thorny stem conveys the idea of a sore/painful throat/severe  pain/irritation in the throat ✔which feels as if there are thorns in one's throat. ✔ (2) 
3.4 prefix✔ (1)
3.5 'Clinically proven'✔ (1) 
3.6 This proves that A.Vogel is an established brand in the manufacture of  natural health products./A brand that has enormous experience in the  manufacture of natural health products. ✔ (1) 
3.7 By calling the telephone number provided/by visiting the website provided. ✔ (1)
3.8 Open-ended. Accept a suitable response, e.g. 

• Yes. The advertisement is convincing because it is about a product  manufactured by a well-established brand (since 1923)./ It promises to be  'fast acting' to relieve the pain and inflammation of a sore throat/is made of  natural and organic ingredients/is clinically proven and therefore reliable. As a  result, one would be persuaded to use this product.
  OR
• No. It is not effective because the information provided is not conclusive  enough/ there is not enough evidence that this product will work/the  information provided is contradictory because the headline states that the  pain will be sprayed away while the body copy refers to the product providing relief and not stopping the pain entirely.
  NOTE: Do not award a mark for Yes/No. The above are merely examples. A  candidate can score 1 mark for an answer that is not well substantiated. (2) [10]

QUESTION 4: ANALYSING A CARTOON 
4.1 The newspaper covers her face. ✔ (1)
4.2 She scares/shocks Mother Anderson with the life-size emoji.✔ (1) 
4.3 Thandi expects Mother Anderson to buy her first emoji✔/Thandi expects  Mother Anderson to invest in this venture to create life-size emojis.✔ 
NOTE: Accept any ONE of the above answers. (1) 
4.4
4.4.1

• The cartoonist uses the word 'SLAM'.✔
• The word 'SLAM' is written in large font.✔
• The word 'SLAM' is written in bold font.✔
• Double exclamation marks are used.✔
• The movement lines. ✔
  NOTE: Accept any TWO of the above answers. (2) 

4.4.2

• The shape of the mouth of the emoji✔ shows that Thandi is not  happy. ✔
  OR 
• The raised eyebrows of the emoji✔ show that Thandi is angry. ✔ (2)   

4.4.3 Entrepreneur/entrepreneurship/entrepreneurism/entrepreneurialism✔ (1) 
4.5 Open-ended. Accept a suitable response, e.g. 

• Yes. Thandi has scared Mother Anderson with the emoji. Mother Anderson is  relaxed while reading the newspaper and does not deserve to be disturbed./  Thandi has used the wrong approach to ask Mother Anderson to support her  venture.
  OR
• No. Mother Anderson should support Thandi as she is making an attempt to  start a business./ Thandi does not deliberately try to scare Mother Anderson.
  NOTE: Do not award a mark for Yes/No. The above are merely examples. A  candidate can score 1 mark for an answer that is not well substantiated. (2) [10]

QUESTION 5: LANGUAGE AND EDITING SKILLS 
5.1
5.1.1

1. than✔ (1) 
2. recently✔ (1) 
3. an✔ (1) 
4. had✔  (1) 

5.1.2 celebrity✔ (1)
5.1.3 B/century✔ (1)
5.1.4 Huge/massive/colossal/enormous/big/gigantic/large✔ 
NOTE: Accept any ONE of the above answers. (1)
5.1.5 Did the officer return to claim his pets? ✔ (1)
5.1.6 Children and adults are entertained by Admiral. ✔ (1)
5.1.7 Accept a suitable response, e.g. 

• They do not know whether he will return.✔
  NOTE: The homophone must be used correctly in the sentence. (1) 

5.1.8 She said that Admiral was the oldest tortoise in the country then/at  that time and played a significant role in drawing tourists to the zoo. 
NOTE: Award ONE mark for each underlined change and ONE   mark for correct punctuation. (4) 
5.2
5.2.1

1. I - (Personal) Pronoun✔ answer - (common) Noun✔ (2)
2. Apostrophe ✔  (1) 

5.2.2 more interesting✔ (1)
5.2.3 The students did not/didn’t know the answer. ✔ (1)
5.2.4 doesn't he (?)/does he not (?)✔ (1) 

TOTAL SECTION C: 40
GRAND TOTAL:  80

ENGLISH FIRST ADDITIONAL LANGUAGE
PAPER 2
GRADE 12 
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 2018

INSTRUCTIONS AND INFORMATION 

1. Candidates are required to answer questions from TWO sections. 
2. These marking guidelines have been finalised at a marking guideline discussion session at DBE at which all provinces were represented. Any  omissions or queries should be referred to Chief Markers/Analytical  Moderators/Internal Moderators at marking centres. All protocol must be  followed.
3. Candidates' responses should be assessed as objectively as possible.
4. GUIDELINES
   4.1 A candidate may not answer more than ONE question on the same  genre.
   4.2 If a candidate gives two answers where the first one is wrong and  the next one is correct, mark the first answer and ignore the next.
   4.3 If answers are incorrectly numbered, mark according to the  marking guidelines.
   4.4 If a spelling error affects the meaning, mark incorrect. If it does not  affect the meaning, mark correct.
   4.5 If the candidate does not use inverted commas when asked to  quote, do not penalise.
   4.6 For open-ended questions, no marks should be awarded for  YES/NO or I AGREE/I DISAGREE. The reason/substantiation/ motivation is what should be considered.
   4.7 No marks should be awarded for TRUE/FALSE or FACT/OPINION.  The reason/substantiation/motivation is what should be considered.

MEMORANDUM 

SECTION A: NOVEL 
NOTE: Candidates are required to answer ONE question on the novel they have  studied. 
QUESTION 1: CRY, THE BELOVED COUNTRY 
Candidates are required to answer BOTH questions, i.e. QUESTIONS 1.1 and 1.2.
1.1
1.1.1 Unlike Stephen Khumalo's house Mrs Lithebe's house has: 

• a bell; 
• a modern bathroom;
• hot and cold water;
• a modern lavatory which can be flushed;
• the setting of the table.
  NOTE: Accept any FOUR of the above. (4)

1.1.2 It is Stephen Kumalo's first visit to Johannesburg.✔ (1) 
1.1.3 Stephen Kumalo travels to Johannesburg (after receiving a letter)  to see Reverend Msimangu ✔ regarding his sister, Gertrude.✔ (2) 
1.1.4

• Reverend Kumalo sees the evil in people when he is robbed of one  pound by a young man who lies to him about needing to buy a  ticket to board the bus.✔
• Soon afterwards he witnesses the good in people when Mr Mafolo  comes to his assistance and escorts him to Reverend Msimangu's place.✔
  NOTE: The answer must reflect BOTH the evil AND the good in   people. (2) 

1.1.5

(a) John Kumalo relocates to Johannesburg in search of a better  life/better job prospects.✔ (1) 
(b) Gertrude goes to Johannesburg in search of her husband.✔ (1)

1.1.6 C/ Reverend Msimangu.✔ (1)
1.1.7

(a) Friendly/pleasant/cordial/welcoming✔ (1) 
(b) It is appropriate because Reverend Msimangu is meeting  Stephen Kumalo for the first time and is welcoming him. ✔/  Reverend Msimangu's tone is appropriate because he wants  Stephen Kumalo to feel happy and welcome. ✔ (1)

1.1.8 Open-ended. 
Accept a response which shows knowledge and understanding of the following viewpoints, among others: 

• No.
  • Stephen Kumalo is old and frail; 
  • he has never been to a big city before; 
  • he needs the assistance of others to survive;
  • Rev Msimangu assists Stephen Kumalo by putting him in touch  with all the other individuals who assist him;
  • Mrs Lithebe provides Stephen Khumalo with a comfortable  home away from home;
  • Mrs Lithebe assists Stephen Kumalo by accommodating  Gertrude, her son and Absalom's wife;
  • Father Vincent is compassionate and ever-willing to assist  Stephen. 

OR 

• Yes.
  • It is Stephen Kumalo's inner strength/human nature that allows  him to endure so much of emotional pain in Johannesburg; 
  • it is his faith that allows him to persevere in Johannesburg;
  • Stephen Kumalo survives under harsh conditions in Ndotsheni; 
    NOTE: Do NOT award a mark for YES or NO only. 
    Credit responses where a combination is given. For full   marks, the response must be well-substantiated. A  candidate can score 1 or 2 marks for a response which is   not well-substantiated. The candidate's interpretation must   be grounded in the novel. (3) 

 AND
1.2
1.2.1 He goes into the mountains to pray/think/reflect/to be alone✔ during this time of extreme suffering when Absalom is about to be  executed.✔ (2) 
1.2.2

• When Absalom was a young boy and became very ill.✔
• When he contemplated leaving the ministry to open a business.✔
• When his wife was away and, in a moment of weakness and  loneliness, he considered committing adultery with a  schoolteacher.✔
  NOTE: Accept any ONE of the above. (1) 

1.2.3 Absalom had impregnated the girl prior to him being arrested.✔ While he is in prison, he marries her so that his child will be raised  legitimately.✔ (2) 
1.2.4

• Steven Kumalo is a religious person.✔
• He loves Absalom unconditionally.✔
• He is considerate/caring.✔
• He is compassionate.✔
• He feels accountable/responsible for his son's actions.✔
• He is God-fearing. ✔
  NOTE: Accept any TWO of the above. (2)

1.2.5

1. Metaphor✔ (1) 
2.                                        
   • The comparison between the boy (Arthur Jarvis's son) and a  bright, shiny light means he is striking/stands out.✔
   • The boy is intelligent.✔
   • The boy brings back joy into their lives.✔
   • The boy has an/a infectious/ attractive/caring personality.✔
   • The boy's brightness of spirit stands out.✔
     NOTE: Accept any TWO of the above. (2) 

1.2.6 Gertrude is promiscuous/immoral/erratic in her behaviour. Mrs Lithebe is morally upright/pious/strict.✔✔(2)
1.2.7 The discussion of the theme of the impact of forgiveness on the  community of Ndotsheni, should include the following points, among others: 

• Despite Absalom Kumalo killing their son, James Jarvis bears no  hatred/is not vengeful towards the Kumalo family;
• Through his actions (e.g. uplifting the community), James Jarvis  proves that he is forgiving;
• Mrs Jarvis shares his sentiments and desires that the church be  completed;
• Stephen Kumalo does not bear any resentment towards his son;
• Stephen Kumalo forgives his son immediately;
• Stephen Kumalo tries to manage the consequences of Absalom's  Actions;
• Stephen Kumalo does not show any hatred towards his siblings  (John and Gertrude).
  NOTE: For full marks, the response must be well-substantiated. A   candidate can score 1 or 2 marks for a response which is   not well-substantiated. The candidate's interpretation must   be grounded in the novel. (3) 

1.2.8 Accept a relevant response which shows an understanding of  Absalom's actions and the consequences thereof. 

• Absalom deserves to be executed since he pulls the trigger and is  responsible for the death of Arthur Jarvis;
• he has succumbed to a life of crime;
• Absalom was fully aware of his potential to kill and so   must be held responsible for his actions. 
  OR
• The murder of Arthur Jarvis was not pre-meditated, the intention   was to rob;
• Absalom Kumalo may have pulled the trigger resulting in the  death of Arthur Jarvis but he did not act alone; 
• Johannes Pafuri and Matthew Kumalo were his accomplices and  so are complicit in the murder;
• the fact that Absalom confessed to having pulled the trigger  should have resulted in the court showing leniency by not  pronouncing the death penalty. 
  NOTE: For full marks, the response must be well-substantiated. A   candidate can score 1 or 2 marks for a response which is   not well-substantiated. The candidate's interpretation must   be grounded in the novel. (3) [35]

OR 
QUESTION 2: STRANGE CASE OF DR JEKYLL AND MR HYDE 
Candidates are required to answer BOTH questions, i.e. QUESTIONS 2.1 and 2.2.
2.1.1 C/friend✔ (1)
2.1.2 London✔ (1) 
2.1.3

• His house has a large hall✔and 
• He has expensive oak cabinets.✔
• He has a butler. ✔
  NOTE: Accept any TWO of the above (2)

2.1.4 Poole It suggests that the visit takes place at night.✔ (1)
2.1.5

(a) Respectful/polite/hospitable/courteous/welcoming✔ (1) 
(b) Mr Utterson is a visitor to Dr Jekyll's house/It is Poole's job to  welcome Dr Jekyll's guests./Mr Utterson is known to Poole./  Poole respects Mr Utterson because of his status (lawyer).✔ (1) 

2.1.6

(a) Personification✔ (1) 
(b) He was shaking/trembling with fear✔ because he was  thinking about Mr Hyde.✔ (2) 

2.1.7

1. It is in the dissecting room that Dr Jekyll uses a potion which allows him to make the transformation into Mr Hyde.✔This is  a strange occurrence.✔ (2) 
2. He is perceptive/concerned/protective/curious of his  friend.✔He knows that Mr Hyde is the beneficiary of Dr  Jekyll's will therefore, he is worried that Mr Hyde may kill his  friend, Dr Jekyll, for the inheritance./He thinks Mr Hyde is  blackmailing Dr Jekyll.✔ (2) 

2.1.8 Mr Hyde is the same person as Dr Jekyll. ✔ (1)
2.1.9 Accept a relevant response which shows an understanding of the  following aspects, among others: 

• The novel is relevant because it explores the constant battle that  people have between good and evil within oneself;
• the possibility exists, with advances in science and technology in  this modern world, for people to be able to transform themselves  as Dr Jekyll did;
• the genre of science fiction writing is very popular today, so this  novel is therefore, still relevant to modern readers. 
  NOTE: For full marks, the response must be well-substantiated. A  candidate can score marks for a response which is not well substantiated. A candidate can score 1 or 2 marks for a response  which is not well-substantiated. The candidate's interpretation must  be grounded in the novel. (3) 

2.2
2.2.1

• The maid sees two gentlemen who appear to be talking to each  other.✔
• The maid recognises Mr Hyde. ✔
• Mr Hyde viciously attacks the older/other man with his cane. ✔
• He tramples his victim.✔
  NOTE: Accept any other RELEVANT facts. (4) 

2.2.2 Dr Jekyll is a good/decent/respectable person who is morally  upright. Mr Hyde is an evil person who perpetrates criminal  deeds.✔✔ (2) 
2.2.3

• Dr Jekyll knows that he could not return to his former self.✔
• Dr Jekyll becomes aware of the fact that the evil Mr Hyde has become the dominant personality.✔
• Dr Jekyll realises that evil has triumphed over good.✔
  NOTE: Accept any TWO of the above. (2) 

2.2.4 The servants are familiar with the coming and going of Dr Jekyll's 'second self', Mr Hyde.✔ (1) 
2.2.5

• He wants to mislead the servants.✔
• He is afraid that the truth (about Mr Hyde) will be revealed.✔ (2)

2.2.6 The discussion of the theme of good versus evil, should include the  following points, among others: 

• The dual personalities of Dr Jekyll and Mr Hyde represent the  presence of both good and evil in human beings.
• Good and Evil are revealed through the actions of Dr Jekyll and Mr  Hyde. 

Dr Jekyll:  

• has a good reputation/is a respected scientist;
• is aware of the evil consequences of his experiment and  feels guilty. 

Mr Hyde: 

• commits murder/acts of violence;
• feels no remorse/has no conscience about his evil actions;
• Dr Jekyll eventually succumbs to his evil alter ego (Mr Hyde) that becomes dominant and eventually destroys Dr Jekyll, signalling  the triumph of evil over good. 
  NOTE: For full marks, the response must be well-substantiated. A   candidate can score 1 or 2 marks for a response which is   not well-substantiated. The candidate's interpretation must   be grounded in the short story. (3)

2.2.7 Open-ended. 
Accept a relevant response which shows an understanding of the  following aspects, among others: 

• Yes.
  • Dr Jekyll is being honest;
  • he can distinguish between the good and evil side of  himself;
  • he is disgusted with the actions of Mr Hyde;
  • he admits that he found the evil personality of Mr Hyde appealing;
  • he was afraid of losing the status that he enjoyed as the respectable Dr Jekyll. 
• No. 
  • He is reckless/irresponsible to have carried out such an  experiment in the first place;
  • he contributes to evil by creating Mr Hyde;
  • he is not able to control the evil actions of Mr Hyde.
    NOTE: Do NOT award a mark for YES or NO only. 
    Credit responses where a combination is given. For full  marks, the responses must be well-substantiated.
    A   candidate can score 1 or 2 marks for a response which is   not well-substantiated. A candidate's interpretation must be   grounded in the novel. (3) [35] 

OR

SECTION B: DRAMA 
NOTE: Candidates are required to answer ONE question on the drama they have  studied. 
QUESTION 3: MACBETH 
Candidates are required to answer BOTH questions, i.e. QUESTIONS 3.1 and 3.2. 
3.1
3.1.1

• Macbeth is greeted as the Thane of Glamis. ✔
• Macbeth is prophesied to be the Thane of Cawdor. ✔
• Macbeth is said to be the future king of Scotland. ✔
• Banquo is told that he will be lesser that Macbeth, yet greater. ✔
• Banquo will not be as happy as Macbeth, yet much happier. ✔
• Banquo will not be king, but his children will. ✔
  NOTE: Accept any FOUR of the above. (4)

3.1.2

(a) Macbeth✔ (1) 
(b) The witches’ prophesy that Macbeth will be king.✔ Macbeth and his wife, Lady Macbeth, cannot wait for the prophecy to be  fulfilled and so, murder King Duncan.✔

OR 

• When King Duncan visits Inverness (Macbeth's castle)✔, 
• Macbeth murders him to become the King of Scotland.✔ (2)
  (c) Malcolm/Duncan's first- born son.✔ (1) 

3.1.3 They are not enjoying the expected results of being king and  queen./They have destroyed their peace of mind by murdering  Duncan.✔ (1) 
3.1.4 Malcolm flees to England/goes into exile  (after Duncan's murder). ✔ (1) 
3.1.5

• Lady Macbeth is without compassion/cold and clinical/merciless  (she does not show any guilt after Duncan's death).
• Macbeth is emotional (guilt-ridden/remorseful/regretful after  Duncan's death).✔✔

OR 

• Lady Macbeth is dismissive of the murder of Duncan whereas 
• Macbeth continues to dwell on his murder.✔✔ (2)

3.1.6

1. Metaphor ✔ (1) 
2. A scorched snake is dangerous as it will attack in defence. It  remains a threat until it is destroyed; similarly, Macbeth is afraid  that the killing of Duncan is not the end of his problems.✔

AND 

• Banquo and Fleance must be killed for him to maintain his  position as king and his lineage.✔

OR 

• After the killing of Duncan, Macbeth fears that Banquo and  Fleance are threats to the throne of Scotland (based on the  prophesy of the witches).✔ Therefore, he has ordered that they  must be killed.✔

OR 

• Macbeth's fear after Duncan's death is that Banquo's children  (issue) will ascend the throne of Scotland (as prophesied by the  witches),✔ therefore their deaths are necessary.✔ (2) 

3.1.7 Accept a relevant response which shows an understanding of the  following aspects, among others: 

• The messages of Macbeth (e.g. the triumph of good over evil)  are timeless;
• human nature is such that evil, if allowed to prevail, can destroy a person, as with Macbeth and Lady Macbeth;
• the presence/influence of the supernatural is still prevalent today;
• as with Scotland then, political strife, conflict over leadership succession and war are present in the world today. 
  NOTE: For full marks, the response must be well-substantiated. A  candidate can score 1 or 2 marks for a response which is  not well-substantiated. The candidate's interpretation must be grounded in the play. (3) 

3.2
3.2.1 C/attendant✔ (1) 
3.2.2 Gentle/soft tone.✔She does not want to disturb/wake Lady Macbeth  (while she is sleepwalking).✔ (2) 
3.2.3 The darkness reminds her of the evil deeds that have been  committed (under the cover of darkness).✔ (1)
3.2.4 Lady Macbeth's eyes are open, but she is asleep/her senses are not  functioning at this point.✔ (1) 
3.2.5

• The Gentlewoman is loyal/dutiful to Lady Macbeth.✔ She shows  allegiance to Lady Macbeth and does not disclose any incriminating  information that Lady Macbeth reveals (while sleeptalking).✔

OR 

• The Gentlewoman is afraid.✔ If she reveals what Lady Macbeth has  uttered in her sleep, she risks being killed by Macbeth.✔

OR 

• The Gentlewoman is secretive ✔because she is afraid of what  Macbeth may do if he finds out that Lady Macbeth has confessed  their evil deeds in her sleep.✔ (2) 

3.2.6

• She imagines✔seeing a spot of Duncan's blood on her hand.✔ OR  When Lady Macbeth takes the daggers to Duncan's chamber✔, her  hands are smeared with his blood.✔

OR 

• She is haunted by the sight of Duncan’s blood✔ which she still  imagines to be on her hands.✔ (2) 

3.2.7

• Lady Macbeth is tormented/haunted✔ by memories of her role in  Duncan's murder✔

OR 

• Her disorientated/confused/disturbed state of mind✔ manifests in  hallucinating, sleepwalking and sleeptalking.✔ (2)

3.2.8 The discussion of the theme of justice, should include the following  points, among others: 

• Macbeth is eventually killed by Macduff who, in doing so,  avenges the death of his family;
• Malcolm takes up his rightful position as the King of Scotland;
• all the exiles like Fleance and Donalbain are asked to return home  to Scotland;
• order replaces anarchy in the rule of Scotland;
• good triumphs over evil. 
  NOTE: For full marks, the response must be well-substantiated. A   candidate can score 1 or 2 marks for a response which is   not well-substantiated. The candidate's interpretation must   be grounded in the play. (3)

3.2.9 Open-ended. 
Accept a relevant response which shows an understanding of the  following viewpoints, among others: 

• Yes.
  • Lady Macbeth is the catalyst that spurs Macbeth to action;
  • she manipulates him into acting on the witches' prophecies;
  • she makes all the preparations for the murder of Duncan and  when Macbeth murders Duncan she sets him on a path of evil  from which there is no return;
  • her behaviour and actions contribute to the eventual downfall  of Macbeth. 

OR 

• No. 
  • Macbeth's fatal flaws: overriding ambition/greed for power/sense  of entitlement/ extreme sense of arrogance lead to his downfall;
  • the witches are responsible for the downfall of Macbeth. From the  outset, Macbeth is like a puppet that they control;
  • the supernatural forces give Macbeth a false sense of security/  power making him think that he is invincible. This eventually leads  to him being killed by Macduff.
    NOTE: Do NOT award a mark for YES or NO only. 
     Credit responses where a combination is given.
    For full   marks, the response must be well-substantiated.
    A   candidate can score 1 or 2 marks for a response which is   not well-substantiated.
    The candidate's interpretation must   be grounded in the play. (3) 

OR

QUESTION 4: MY CHILDREN, MY AFRICA! 
Candidates are required to answer BOTH questions, i.e. QUESTIONS 4.1 and 4.2. 
4.1
4.1.1

• A debate is an orderly discussion. ✔
• It is a regulated discussion of an issue with opposing viewpoints. ✔
• Opposing viewpoints should receive equal time and consideration.✔
• Opponents should not be shouted down. ✔ (4) 

4.1.2 Thami is uncertain about which career to follow.✔/Thami is  uncertain about whether he should further his studies.✔
NOTE: Accept any ONE of the above. (1) 
4.1.3

• Abrupt/impatient/angry/loud/annoyed✔
• Thami is frustrated/irritated with Mr M's interference.✔
  NOTE: Award 1 mark for the identification of the tone and 1   mark for the explanation. (2) 

4.1.4 Thami is intelligent/a critical thinker.✔ Mr M sees Thami as a future  leader (who could bring about change in South Africa). ✔ (2) 
4.1.5 Isabel learns more✔about the people, culture and conditions in Brakwater/the location.✔ (2) 
4.1.6 Thami is surprised that Camdeboo has a newspaper.✔ (1) 
4.1.7

• She is a person of integrity./She is objective/honest/ethical. ✔
• She is concerned that it is unethical to report on a debate that she  participated in but gives the assurance that she will be impartial. ✔
  OR
• She is well-mannered/respectful/courteous.She apologises for  interrupting. ✔
  OR
• She is empathetic/compassionate/understanding. She can relate  to Thami’s plight. ✔  (2)

4.1.8 Open-ended.  
Accept a relevant response which shows an understanding of the  following viewpoints, among others: 

• Yes. 
  • Being part of the debating team, he can think critically and  reasonably about his choices; 
  • he realises that there is no future in receiving an inferior  education;
  • he comes to the realisation that protest action is the only solution; 
  • he can use his leadership abilities to lead the protest. 
• No. 
  • Thami is the top achiever in his school but when he joins the  student protest, he abandons the possibility of furthering his  studies;
  • he does not think about the negative consequences/dangers of his  decisions as this will mean the end of his potential career.
    NOTE: Do NOT award a mark for YES or NO only. 
    Credit responses where a combination is given For full marks, the response must be well-substantiated.
    A  candidate can score 1 or 2 marks for a response which is  not well- substantiated.
    The candidate's interpretation must  be grounded in the drama. (3) 

4.2.1

• There are no students in Mr M’s classroom✔ yet he is marking the  register as he would every day. ✔
  OR 
• A register is marked to check whether a learner is present or  absent, ✔ not whether they are dead or alive.✔ (2) 

4.2.2

(a) Personification/Metaphor✔ (1) 
(b) The silence is overwhelming✔ because there is no one in the  classroom to respond to his question.✔ (2) 

4.2.3 'meant to help you' ✔ (1)
4.2.4 The discussion of the theme of the power of words versus violence,  should include the following points, among others: 

• Mr M's belief in the power of words and its ability to bring about  social change is now futile;
• in this play it is evident that during the school boycotts violence  erupts: bullets fly; classrooms are destroyed – glass is broken,  stones are thrown;
• this play reveals that violence triumphs over words. 
  NOTE: The answer must show the contrast of the power of words   versus violence. 
  For full marks, the response must be well-substantiated. A   candidate can score 1 or 2 marks for a response which is   not well-substantiated. The candidate's interpretation must   be grounded in the play.(3) 

4.2.5 D/anxiety✔ (1) 
4.2.6

(a) The ringing of the bell shows that Mr M does not support the  school boycott. ✔ Thami is afraid that the mob will kill Mr M. ✔ (2) 
(b) When he was in Junior school✔ (1) 
(c) Thami says he will tell the crowd that Mr M has decided to join  the boycott/✔ Mr M is innocent and not an informer.✔ (1) 

4.2.7 Thami becomes a fugitive.✔ (1) 
4.2.8 Accept a response which shows an understanding of the relevance of the play today. 

• The play deals with the inequalities of the education system in  apartheid South Africa. Although South Africa is a democratic  country today, the legacy of apartheid is still present within the  education system;
• there is still inequality in the schooling system as seen at the  schools of Zolile High and Camdeboo Girls High;
• it is important for a healthy democracy to prevail, to encourage  critical thinking among learners;
• an understanding of our past/history is important in shaping the  present and the future of South Africa. 
  NOTE: For full marks, the response must be well-substantiated. A   candidate can score 1 or 2 marks for a response which   is not well-substantiated. The candidate's interpretation   must be grounded in the drama. (3) [35]

TOTAL SECTION B: 35 

SECTION C: SHORT STORIES 
NOTE: Candidates are required to answer BOTH questions set on the TWO short  stories they have studied. 
QUESTION 5 
5.1 'TRANSFORMING MOMENTS' 
5.1 5.1.1 D/praise poet✔(1) 
5.1.2

• They believe that he will not be interested in her as she is from a rural area.✔
• The girls consider her too ugly for him.✔
• They think she is not fashionable enough for him.✔
• They think that he will be more interested in them.✔
  NOTE: Accept any ONE of the above. (1) 

5.1.3 The narrator is a good student and therefore some of her  classmates go to her for help with their studies/homework. ✔ (1) 
5.1.4

• The narrator develops a love for words which allows her to write  good essays at school.✔
• Reading makes her a good student.✔
• She later becomes a poet and a writer.✔
  NOTE: Accept any TWO of the above. (2)

5.1.5

(a) A tone of excitement/enthusiasm/pride✔ (1) 
(b) She feels excited about having written her first poem (just as a  woman will feel excited about having her first-born baby).✔ (1) 

5.1.6 It has not always been considered special as she has been thrown  out of the school choir✔because her voice is considered too  deep/unsuitable.✔ (2) 
5.1.7

• The relationship is sincere unlike the relationship with her other  classmates who exploit her.✔✔
  OR
• Bulelwa is a true friend who does not tease her about boys or use  her to have her homework done like the others do.✔✔(2)

5.1.8 The discussion of the theme of confidence, should include the  following points, among others: 
Although the speaker lacks confidence at the beginning of the story  she becomes confident about: 

• her ability to write/to write poems; 
•  the use of her unique voice for reciting poetry; 
• her physical appearance and does not allow the comments of   others to affect her.
  NOTE: For full marks, the response must be well-substantiated. A   candidate can score 1 or 2 marks for a response which is   not well-substantiated. The candidate's interpretation must   be grounded in the short story. (3) 

5.1.9 Accept a relevant response which shows an understanding of how  the following aspects highlight the appropriateness of the title,  among others. 
The title focuses on the several moments that have transformed  the narrator's life: 

• she changes from an insecure person to a confident young  woman by not being affected by what others say about her; 
• she becomes comfortable about her looks and her distinctive  voice; 
• she is transformed by the realisation that with her resonant voice  she can become the first female praise poet; 
• she changes when she discovers she has a gift for writing/poetry   writing.
  NOTE: For full marks, the response must be well-substantiated. 
  A candidate can score 1 or 2 marks for a response which  is not well-substantiated.
  The candidate's interpretation  must be grounded in the short story. (3) 

AND

5.2 'NEXT DOOR' 
5.2
5.2.1

• Paul hears the argument in the apartment/house next door. ✔
• He thinks that the argument is between Mr and Mrs Hager. ✔
• He calls the radio station and sends a dedication on behalf of Mr  Hager.✔
• Mrs Hagar hears the dedication and rushes home. ✔ (4)  

5.2.2 The policeman questions Paul to find out whether he has heard  any shots being fired.✔ (1)  
5.2.3 'wailing at the top of her lungs'✔ (1) 
5.2.4 She is running wildly/without stopping/as if she is not aware of the  consequences of her actions.✔She desperately wants to see her  husband.✔ (2) 
5.2.5 Lem is deceitful/deceptive/dishonest/pretentious. ✔ He tries to  cover up the fact that he has been unfaithful to Rose. ✔ (2) 
5.2.6 Rose believes that the house is in disarray because she has not  been home. However, the real reason that the house is in such a  state is because her husband has had a fight with his mistress  before Rose returns home.✔✔ (2)
5.2.7

(a) Hyperbole/Exaggeration✔ (1) 
(b) The hyperbole emphasises Paul's feelings of  fear/guilt/shame/embarrassment/anxiety at having lied about  the shots being fired.✔
      He feels this way because he has accepted the money in exchange for his silence.✔ (2)

5.2.8 Open-ended.  
Accept a relevant response which shows an understanding of the  following viewpoints, among others: 

• Yes. 
  They are irresponsible because: 
  • Paul is too young (eight years old) to be left home alone at night;
  • they do not give enough thought to the possible dangers that   their child could face; 
  • they do not take the discovery of the money seriously. 
• No.
  They are responsible because:
  • they believe that he can take care of himself;
  • they believe that he will be gainfully occupied with his microscope  until they return;
  • they leave him with instructions to follow so that he is safe;
  • they leave him with the relevant contact details in case of an  emergency.
    NOTE: Do NOT award a mark for YES or NO only.
    Credit responses where a combination is given. 
    For full marks, the response must be well-substantiated.
    A  candidate can score 1 or 2 marks for a response which is   not well-substantiated.
    The candidate's interpretation must   be grounded in the story. (3) [35] 

TOTAL SECTION C: 35

SECTION D: POETRY 
NOTE: Candidates are required to answer ALL the questions. 
6.1 MID-TERM BREAK – SEAMUS HEANEY 
6.1.1

1. The speaker was waiting to be fetched from school✔ because his brother had passed away and he (the speaker) had to return home.✔ (2) 
2. 'I sat all morning'✔ (1)

6.1.2 C/verandah✔ (1) 
6.1.3

• The death of the speaker's brother which is shocking/traumatic/ a  terrible loss.✔
• The heavy impact of the accident which has caused the death of  the speaker's brother.✔ (2)

6.1.4 A cautious/respectful tone.✔ (1)
6.1.5 The speaker stays at boarding school.✔ (1)
6.1.6 

1. simile✔ (1)
2. The speaker's brother appears to be sleeping in his coffin  ('the four foot box') just as he has slept in his cot.✔ His state  of death resembles his state of sleep because his body is not  severely scarred.✔ /It emphasises how young the boy  was.✔ He still slept in a cot and not a bed.✔ (2) 

6.1.7 Four/four years old✔ (1) 
6.1.8 The explanation of the theme of the fragility of life, should include  the following points, among others: 

• the sudden death of the speaker's four year old brother after   being knocked by a car reminds the reader that life is fragile; 
• death can come to anyone without any warning and at any time; 
• the fact that the poem is about the death of such a young child  shows the fleeting/fragile nature of life. 
  NOTE: For full marks, the response must be well-substantiated. A   candidate can score 1 or 2 marks for a response which is   not well-substantiated.
  The candidate's interpretation must   be grounded in the poem. (3)

6.1.9 Accept a relevant response which shows an understanding of the  following aspects of the poem, among others: 

• A mid-term break is usually associated with a short break-away  from school, especially when you are staying in a hostel.
• In this poem the speaker takes a break from school in the middle  of the term to go back home because his brother has passed away;
• figuratively the family is broken after the death of the speaker's  brother as the number of people in the family is reduced;
• the family is emotionally broken/devastated.
  NOTE: For full marks, the response must be well-substantiated. 
  A candidate can score 1 or 2 marks for a response which  is not well-substantiated.
  The candidate's interpretation  must be grounded in the poem. (3) 

 AND 

6.2 ALEXANDRA – MONGANE WALLY SEROTE 
6.2.1 

1. South Africa✔ (1)
2. The poet is criticising the injustices/inequalities✔ that  occurred during apartheid. ✔ (2) 

6.2.2 Just as one has no choice about being born or who one's mother  should be,✔similarly, the speaker had no choice as to where he  should be born/or where he should live.✔/ Just as one has no choice about being born or who one's mother  should be,✔ similarly, African people (like the speaker) had no  choice as to where they should live (during apartheid).✔ (2) 
6.2.3

1. Metaphor/Personification✔ (1)
2. When something is 'knotted' it is tied or connected to  something else.✔The poet compares this idea to the idea  that from a young age he has had a strong connection with  his township, Alexandra.✔

OR 

• Alexandra is seen as a person (a mother)✔ that the speaker  is connected to ('knotted to') from the outset ('beginning').✔ (2) 

6.2.4

• Air pollution/dust✔
• Water pollution/dirty water✔
• Violence✔
• Fear✔
  NOTE: Accept any THREE of the above. (3)

6.2.5 The speaker has been to many other places (in the world) but he  could never fit in/identify with those places✔ and returns to  Alexandra.✔ (2) 
6.2.6 Bricks/debris/stones/dirt✔ (1)
6.2.7 Open-ended. 
Accept a relevant response which shows an understanding of the  following aspects of the poem, among others: 

• Yes.
  • Alexandra is a place that shaped the speaker's identity;
  • Alexandra is a place of belonging for the speaker; ⃰
  • the speaker emphasises the idea that although he has left  Alexandra at times, he has always returned. 
• No.
  • The speaker focuses on the negative aspects of Alexandra;
  • he shows that he has a love-hate relationship with Alexandra. 

NOTE: Do NOT award a mark for YES or NO only. 
 Credit responses where a combination is given 
 For full marks, the response must be well-substantiated.   A candidate can score 1 or 2 marks for a response   which is not well-substantiated.
The candidate's   interpretation must be grounded in the poem. (3) [35] 

TOTAL SECTION D: 35
GRAND TOTAL:  70

ENGLISH FIRST ADDITIONAL LANGUAGE
PAPER 1
GRADE 12 
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 2018

INSTRUCTIONS AND INFORMATION 
This memorandum must be used together with the attached English FAL assessment  rubrics for SECTIONS A, B and C. 

MEMORANDUM 

SECTION A: ESSAY 
QUESTION 1 
Instructions to Markers: 

• Candidates are required to write on ONE topic only.
• The ideas listed below the topics are only some ways in which the topic could be  interpreted.
• Full credit must be given for the candidate's own interpretation.
• Marking must be objective. Give credit for relevant ideas. 
• Use the 50-mark assessment rubric to mark the essays. The texts produced by  candidates must be assessed according to the following criteria as set out in the  assessment rubric: 
  • Content and planning (30 marks)
  • Language, style and editing (15 marks)
  • Structure (5 marks) 
    NOTE: 
  • Adhere to the length of 250–300 words as prescribed in the CAPS document.  However, should the maximum word count be reached mid- sentence, read  to the end of that sentence.
  • No additional penalties may be imposed as the rubric itself imposes  penalties.  

1.1 An escape  
Narrative/Reflective/Descriptive 

• If narrative, the essay must have a strong story line and an interesting  ending. The essay is usually written in the past tense. 
• If reflective, the essay should convey emotional reactions and feelings  the candidate experiences/experienced. 
• If descriptive, the candidate should create a picture in words, using as  many senses as possible to make the description clear.
  NOTE: A candidate may write an essay which contains elements of more  than one type of essay. [50]

1.2 We have been friends since Grade 1 
Narrative/Reflective/Descriptive 

• If narrative, the essay must have a strong story line and an interesting  ending. This topic lends itself to the possibility of being written in both the  past tense and the present tense. 
•  If reflective, the essay should convey emotional reactions and feelings  the candidate experiences/experienced.
• If descriptive, the candidate should create a picture in words, using as  many senses as possible to make the description clear.
  NOTE: A candidate may write an essay which contains elements of more  than one type of essay. [50] 

1.3 The home in which I grew up 
Descriptive/Reflective/Narrative 

• If descriptive, the candidate should create a picture in words, using as  many senses as possible to make the description clear. 
• If reflective, the essay should convey emotional reactions and feelings  the candidate experiences/experienced. 
• If narrative, the essay must have a strong story line and an interesting  ending. The essay is usually written in the past tense.
  NOTE: A candidate may write an essay which contains elements of more  than one type of essay. [50] 

1.4 'Life is really simple, but we insist on making it complicated.' – Confucius Discuss this statement. 
Discursive/Narrative/Reflective/Descriptive/Argumentative 

• If discursive, the arguments for and against must be well-balanced and  clearly analysed in the essay. Supporting evidence must be provided for  arguments given. The candidate may come to a particular conclusion at the  end of the essay which should include recommendations.
• If narrative, the essay must have a strong story line and an interesting  ending.
• If reflective, the essay should convey emotional reactions and feelings the  candidate experiences/experienced.
• If descriptive, the writer should create a picture in words, using as many  senses as possible to make the description clear.
• If argumentative, the essay must reflect a specific argument or viewpoint for  or against the topic. The candidate should give a range of arguments to  support and substantiate his/her view. The conclusion should be a strong,  clear and convincing statement of the writer's opinion.
  NOTE: A candidate may write an essay which contains elements of more  than one type of essay. [50] 

1.5 We are responsible for what future generations will inherit from us Argumentative/Reflective/Discursive 

• If argumentative, the essay must reflect a specific argument or  viewpoint for or against the topic. The candidate should give a range  of arguments to support and substantiate his/her view. The  conclusion should be a strong, clear and convincing statement of the  writer's opinion.
• If reflective, the essay should convey emotional reactions and  feelings the candidate experiences/experienced.
• If discursive, the arguments for and against must be well-balanced  and clearly analysed in the essay. Supporting evidence must be  provided for arguments given. The candidate may come to a  particular conclusion at the end of the essay which should include  recommendations.
  NOTE: A candidate may write an essay which contains elements of more  than one type of essay. [50] 

1.6 Freedom of speech is both a right and a responsibility. Do you agree? Argumentative 

• The essay must reflect a specific argument or viewpoint for or against  the topic.
• The candidate should give a range of arguments to support and  substantiate his/her view. 
• The conclusion should be a strong, clear and convincing statement of  the writer's opinion.
• If discursive, the arguments for and against must be well-balanced and  clearly analysed in the essay. Supporting evidence must be provided for  arguments given. The candidate may come to a particular conclusion at  the end of the essay which should include recommendations.  [50]

1.7 Interpretation of pictures 
Narrative/Descriptive/Reflective/Argumentative/Discursive 

• The candidate should give the essay a suitable title.
• The candidate may interpret the pictures in any way.
• The candidate may choose to write any type of essay.
• The interpretation must be linked to the picture.
• The candidate may write in any appropriate tense. 

1.7.1 Picture: Tap 

• Literal interpretations: the importance of water in our lives, lack  of service delivery, access to water.
• Figurative interpretations: drought, water conservation. 

1.7.2 Picture: An athlete 

• Literal interpretations: sport, talents, competition.
• Figurative interpretations: rat-race, competing to be the best,  taking up challenges. [50] 

 TOTAL SECTION A: 50

SECTION B: LONGER TRANSACTIONAL TEXT 
QUESTION 2 
Instructions to Markers: 

• Candidates are required to answer ONE question.
• Marking must be objective. Give credit for relevant ideas.
• Use the 30-mark assessment rubric to mark the responses in this section. The  texts produced by candidates must be assessed according to the following criteria  as set out in the assessment rubric: 
  • Content, planning and format (18 marks)
  • Language, style and editing (12 marks)
    NOTE:
  • Adhere to the length of 120–150 words as prescribed in the CAPS document. However, should the maximum word count be reached mid sentence, read to the end of that sentence.
  • No additional penalties may be imposed as the rubric itself imposes  penalties.  

2.1 FRIENDLY LETTER 
A letter of congratulations 

• The letter should have an introduction, a body and a conclusion. 
• The tone and register of the letter should be friendly and informal. 
• The following aspects of format must be included: 
  • Address of sender 
  • Date 
  • Greeting/Salutation 
  • Suitable ending 
• The candidate must express his/her congratulations to the friend. [30]

2.2 LETTER OF APPLICATION 
Application for the position of general assistant 

• Acceptable variations of format must be allowed.
• The letter should be addressed to the production manager.
• The tone and register of the letter should be formal.
• The letter should have an introduction, a body and conclusion.
• The following aspects of format must be included: 
  • Address of sender 
  • Date 
  • Recipient: The Production Manager
  • Name of the production company 
  • Address of recipient 
  • Greeting/Salutation 
  • Subject line 
  • Suitable ending 
  • Signature 
  • Name of sender 
• The purpose of the letter must be clear. [30]

2.3 INFORMAL REPORT 
A report on a project  

• The report must have: 
  • A topic 
  • A recipient 
  •  A sender 
• The report must be written using an informal format but formal language.  [30]
• Slang or colloquial language is NOT acceptable. 
• Information about the project must be included. 

2.4 INTERVIEW 
Interview with a private nurse  

• A context must be provided at the beginning of the interview. 
• The dialogue must be between yourself and the nurse. 
• The tone and register should be appropriate to the person being  interviewed. 
• The questions must be probing and to the point. 
• The names of the speakers should be followed by colons. 
• A new line should be used to indicate each new speaker. [30]

TOTAL SECTION B: 30

SECTION C: SHORTER TRANSACTIONAL TEXT 
QUESTION 3 
Instructions to Markers: 

• Candidates are required to answer ONE question.
• Marking must be objective. Give credit for relevant ideas.
• Use the 20-mark assessment rubric to mark the responses in this section. The  texts produced by candidates must be assessed according to the following criteria  as set out in the attached rubric: 
  • Content, planning and format (12 marks)
  • Language, style and editing (8 marks)
    NOTE:
  • Adhere to the length of 80–100 words as prescribed in the CAPS document.  However, should the maximum word count be reached mid- sentence, read  to the end of that sentence.
  • No additional penalties may be imposed as the rubric itself imposes  penalties.  

3.1 INVITATION CARD 
Invitation to a farewell dinner 

• The invitation must include the following aspects: 
  • Date, venue and time 
  • Type of function 
• Language should be suited to the context. 
• Full sentences are not necessary. 
• No marks should be awarded for illustrations. [20]

3.2 DIARY ENTRIES 
The candidate's feelings before and after his/her first day at work. 

• There MUST be TWO diary entries with two different dates/times.
• The diary entries should be written in the first person.
• The language should be simple and informal.
• The tone must reflect suitable emotions. [20]

3.3 DIRECTIONS 
Directions from the shopping centre to the local post office 

• The directions may be in point or paragraph form. 
• Complete sentences are not necessary. 
• Directions must be in the correct sequence, including reference to  distance, turns and landmarks.
• No marks are awarded for sketches or maps. [20] 

TOTAL SECTION C: 20
GRAND TOTAL: 100

ASSESSMENT RUBRIC FOR ESSAY – FIRST ADDITIONAL LANGUAGE [50 MARKS]

ASSESSMENT RUBRIC FOR LONGER TRANSACTIONAL TEXT – FIRST ADDITIONAL LANGUAGE [30 MARKS]

ASSESSMENT RUBRIC FOR SHORTER TRANSACTIONAL TEXT – FIRST ADDITIONAL LANGUAGE [20 MARKS]

ELECTRICAL TECHNOLOGY
GRADE 12 
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 2018

INSTRUCTIONS TO THE MARKERS 

1. All questions with multiple answers imply that any relevant, acceptable  answer should be considered. 
2. Calculations
   2.1 All calculations must show the formulae.
   2.2 Substitution of values must be done correctly.
   2.3 All answers MUST contain the correct unit to be considered.
   2.4 Alternative methods must be considered, provided that the correct  answer is obtained.
   2.5 Where an incorrect answer could be carried over to the next step,  the first answer will be deemed incorrect. However, should the  incorrect answer be carried over correctly, the marker has to re calculate the values, using the incorrect answer from the first  calculation. If correctly used, the candidate should receive the full  marks for subsequent calculations.
3. This memorandum is only a guide with model answers. Alternative  interpretations must be considered and marked on merit. However, this  principle should be applied consistently throughout the marking session at  ALL marking centres.

MEMORANDUM 

QUESTION 1: OCCUPATIONAL HEALTH AND SAFETY 
1.1

• Exposed conductors. ✔
• Portable electric equipment that is not insulated correctly.  No safety equipment or clothing found in the workshop. (1) 

1.2 The employer ✔is responsible for ensuring a safe working environment for  workers and all visitors, due to the requirements of the OHS Act. ✔ (2) 
1.3 Human rights relate to the correct and acceptable manner✔ in which all  people are entitled to be treated in the workplace. ✔ (2) 
1.4 The use of drugs impairs a workers perception✔ and reaction time✔, thus  rendering such a worker vulnerable to the risk of injury and accidents. This  situation may also place other workers at risk. (2) 
1.5 To identify potential danger to employees and the public✔ from natural and  human-caused events✔, thereby reducing the risk of accidents and loss✔ (3) [10] 

QUESTION 2: THREE-PHASE AC GENERATION 
2.1
2.1.1 Three-wattmeter-method ✔ of measuring power in an unbalanced  three phase system. (1) 
2.1.2

• A wattmeter has a voltage coil connected in parallel to measure /  sample the voltage✔ across the load.  
  The current coil measures / samples the current flow through✔ the  load. 
  The wattmeter combines✔ both the voltage and current readings  (P=V x I) to determine the power in a circuit. (3) 

2.2

• Two voltages are available, i.e. VL and VPh ✔
  Three phase supply can be connected in star or delta✔
  The load can be distributed over three phases, resulting in less current drawn  per phase. (2) 

2.3 It provides the owner with the consumption of electricity✔ that the dwelling  has used over a period of time. ✔ (2) 
2.4 

• P = P₁ + P₂ 
  = 2500 + 500 ✔ 
  = 3 kW ✔  (3)

2.5
2.5.1 

• P = √3 × V_L × I_L × Cosθ 
  VL =       11000                 
             √3 × 25 × 0,8
  = 317,54 V ✓ (3) 

2.5.2 

• I_L = I_PH
  = 25 A ✓ (2) 

2.6

• Three conductive coils are placed 1200apart in a magnetic field. ✓
• These coils are rotated through the magnetic field, resulting in the coils cutting the flux lines of the magnetic field. ✓
• Due to Faraday’s law✓ three separate alternating voltages are induced  across the coil.(Oersted’s Experiment)
• The generated alternating voltages are 1200out of phase✓ with each other due to the physical displacement thereof. (4) [20] 

QUESTION 3: THREE-PHASE TRANSFORMERS 
3.1

• When an alternating voltage is applied to the primary winding, an alternating  magnetic flux is set up in the core ✔
• The core concentrates the flux, coupling it with the secondary windings. ✓ An alternating EMF, of the same frequency as the supply, is induced across  each winding. ✔
• When a load is connected to the secondary winding, current will flow as a  result of the circuit being completed.✓ 
• Power is therefore transferred magnetically from the primary to the secondary  windings✔ (5) 

3.2

• Oil cooling✔
• Air cooling ✔ 
• Water-cooled oil cooling ✔ (3) 

3.3 Copper losses are caused by the internal resistance✔ of the primary and  secondary windings of the transformers. ✔ (2)
3.4
3.4.1 

• N_P = 1500
  N_S      50
  = 30
      1
  TR = 30 : 1 ✔ (3) 

3.4.2 

• V_L = V_PH
  = 3,3 kV ✔ (2) 

3.4.3

• V_PH(P) = N_P
  V_PH(S)   N_S
  V_PH(S) = 50 × 3300
                  1500
  = 100V ✔ (3) 

3.4.4 The transformer is a step down transformer✔ because the V(PH)P is  greater than V(PH) S✔ (2) [20] 

QUESTION 4: THREE-PHASE MOTORS AND STARTERS 
4.1
4.1.1

• It requires less maintenance as it does not have as many moving  parts as a single phase motor.✔
• For the same size frame, a three-phase motor delivers higher  torque. ✔ (2) 

4.1.2 The connection to any TWO ✔of the windings must be swapped  around. ✔ (2) 
4.1.3

• A three-phase voltage supply is connected across the stator  windings. ✔
• This sets up three-phase currents flowing in the stator windings. ✔
• The currents create a rotating magnetic field in the stator. ✔
• The rotating magnetic field sweeps across the rotor conductors. ✔
• This action induces an emf across the conductors in the rotor, which  results in currents flowing in the conductors✔
• The induced rotor current in turn creates a magnetic field around the  rotor. ✔
• The two magnetic fields interact causing the rotor to rotate. ✔ (7) 

4.2 By doing a mechanical inspection the operator of a motor could prevent ✔ any mechanical or electrical failure that causes damage to the motor or injury  to the operator. ✔ (2) 
4.3 If the frequency of the supply increases the speed of the motor will  increase,✔ because the speed of the motor is directly proportional to the  frequency of the supply. ✔ (2)
4.4 The insulation test between the windings will give an indication whether insulation of the windings is intact or if the insulation has broken down ✔This  could lead to a compromise of the safe use of the motor. ✔ (2) 
4.5

• Check for secure mountings. ✔
• Check for cracked frame.
• Check smooth rotation (1) 

4.6
4.6.1 

• P = √3 V_LI_Lcosθ
  = √3 × 380 × 5 × 0,8
  = 4,739 kW  ✔ (3) 

4.6.2 

• η = P_OUT × 100
        P_100%
  = 4000 × 100 
     4739
  = 84,4%  (3) 

4.7
4.7.1

• The start button must be depressed✔
• Thereafter MC1 is energised, and this will close MC₁ N/O₂ ✔ (2) 

4.7.2 The function of the timer is to create a set time delay✔ between the  starting of M₁ and M₂.✔ (2) 
4.7.3 The current ratings of each motor. ✔ (1) 
4.7.4

• The start button is pressed MC₁N/O₁ hold in and MC₁ N/O₂ close.✔
• The coil of MC₁ is energised switching M₁ on. ✔
• The timer is also energised.✔
• The T N/O begins a pre-set count.✔
• Once timed through MC2 coil is energised switching M2 on. ✔ (5) 

4.8

• At start the stator of the motor will be connected in the star mode.✔
• When connected in star, the voltage across each phase is divided by √3.✔
• This in turn will divide the starting current by √3.✔ (3) 

4.9

• A contactor consists of a coil✔
• and N/O or N/C contacts.✔
• When the coil is energised these contacts will switch into the opposite state  due to electromagnetic actuation of the contacts. ✔
• By applying power to a contactor a secondary circuit/circuits may be  activated/deactivated (3) [40]

QUESTION 5: RLC
5.1
5.1.1 

• C =          1            
         2 × π × f × Xc
  =               1              
         2 × π × 50 × 27
  = 117,89 μF ✔ (3) 

5.1.2

• The current flow would increase through the capacitor.✔
• If the frequency of the supply is increased the capacitive  reactance will decrease✔ as it is indirectly proportional to  the frequency of the supply. ✔ (3)

5.2 (5) 
5.3
5.3.1 

• X_L = V_T
          I_L
  =240
      6
  = 40 Ω ✔ (3) 

5.3.2 

• X_L = 2 ×  π ×  f  × L
  L =            XL           
            2 ×  π ×  f
  =                40           
            2 ×  π ×  f
  = 127,32mH  ✔(3) 

5.3.3 

• I_T = √IR² + IL²
  = √7² + 6² 
  =  9,22A ✔ (3) [20]

QUESTION 6: LOGIC 
6.1

• Power supply✔
• Input and output devices✔
• Processor✔
• Programming device✔ (4) 

6.2

• PLC system would use fewer relays, cam controllers, timers, and counters.✔
• Control panels would not have to be re-wired when production models were  changed.✔
• PLC system physically takes up less space than Hardwired systems.✔ (3) 

6.3  (3) 
6.4 
NOTE: Please take note of the mark allocation indicated for grouping. 

• Q = AB +C(9) 

6.5
6.5.1(5) 

6.6
6.6.1

• A counter is used to count the number of pulses✔ before an activity  can happen.✔
• The pulses could be anything that needs counting (2) 

6.6.2

• Markers are used as a temporary storage space to hold a  condition✔
• that must be carried from one sequence to another✔
• A marker is used to transfer the outcome of one rung to other rungs. (2) 

6.6.3 A latch provides some kind of memory element.✔ It acts as a  holding in contact. ✔ (2) 
6.7
6.7.1 (9) 
6.7.2 Motor starter with a time delay✔ (1) [40] 

QUESTION 7: AMPLIFIERS 
7.1
7.1.1 Negative✔ (1)
7.1.2 Positive✔ (1)
7.2 The gain ✔ of the circuit with no feedback ✔  (2) 
7.3 (4) 
7.4

• Audio application where the signal must be inverted✔
• Filters
• Oscillators
• Controllers (2)

7.5
7.5.1 (4) 
Note: 
Labelling = 2 marks 
Waveform = 2 marks 
7.5.2 Pulse generator✔ (1) 
7.6 (4) 

Note: 
Labelling = 2 marks 
Waveform = 2 marks 

7.7 (4) 

Note: 
Labelling = 2 marks 
Waveform = 2 marks 
7.8

• High pass filters✔
• Square wave generators✔
• PID controllers (2) 

7.9 

• f_r =         1         
            2π√L_TC  
  =                         1                                
        2 × π × √2,2 × (47 × 10^-9) 
  = 494,95Hz ✔ (3) 

7.10 (3) 
7.11

• Square wave generator✔
• Relaxation oscillators✔
• Clean noisy signal
• Interfacing analogue signal to digital circuitry (2) 

7.12
7.12.1  (3)
7.12.2 (3)
7.13
7.13.1

• Relaxation oscillator✔
• Memory elements✔ (2) 

7.13.2 (6) 

7.14 

• f_r =         1         
            2π√6RC  
  =                                    1                                
        2 × π × √6 × 25 × 10³ × (47 × 10^-9)   
  = 55,3Hz ✔ (3) 

[50] 
TOTAL: 200 

ELECTRICAL TECHNOLOGY
GRADE 12 
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 2018

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of SEVEN questions.
2. Answer ALL the questions. 
3. Sketches and diagrams must be large, neat and fully labelled. 
4. Show ALL calculations and round off answers correctly to TWO decimal  places. 
5. Number the answers correctly according to the numbering system used in this  question paper. 
6. You may use a non-programmable calculator. 
7. Show the units for ALL answers of calculations. 
8. A formula sheet is provided at the end of this question paper. 
9. Write neatly and legibly.

QUESTIONS 

QUESTION 1: OCCUPATIONAL HEALTH AND SAFETY 
1.1 Give ONE unsafe condition that may lead to an accident in a workshop. (1) 
1.2 Explain who is responsible for ensuring safe working conditions in a  workshop. (2) 
1.3 Explain the term human rights with reference to working conditions in the  workplace. (2) 
1.4 Explain why a person under the influence of drugs may not operate  machinery in the workplace. (2) 
1.5 Explain the importance of carrying out a risk analysis in a workshop. (3) [10] 

QUESTION 2: THREE-PHASE AC GENERATION 
2.1 FIGURE 2.1 below shows a three-phase circuit. 
 
FIGURE 2.1: UNBALANCED THREE-PHASE CIRCUIT 
2.1.1 Identify the method of power measurement. (1) 
2.1.2 Explain why EACH wattmeter has one coil connected in parallel with  the load and one coil connected in series. (3) 
2.2 State TWO advantages of a three-phase distribution system over a  single-phase distribution system. (2) 
2.3 Refer to domestic dwellings and explain what information the kilowatt-hour  meter provides. (2) 
2.4 Two wattmeters are connected to measure the input power to a three-phase  system. The readings on the wattmeters are 2,5 kW and 500 W respectively.  Calculate the total power delivered to the load. 
Given: 

P₁ = 2,5 kW 
P2 ₌ 500 W (3)

2.5 The load connected to a three-phase supply consists of three similar coils  connected in star. The current drawn by the load is 25 A. The input power is 11 kW at a power factor of 0,8 lagging.
Given: 

I_L = 25 A 
P_in = 11 kW 
p.f. = 0,8 lagging 

Calculate the: 
2.5.1 Supply voltage (3)
2.5.2 Phase current (2) 
2.6 Describe how a three-phase alternating-voltage supply is generated. (4) [20]

QUESTION 3: THREE-PHASE TRANSFORMERS 
3.1 Describe how power is transferred from the primary to the secondary winding  of a transformer. (5) 
3.2 Name THREE cooling methods used in a transformer. (3)
3.3 Describe the cause of copper losses in transformers. (2) 
3.4 A three-phase delta-star transformer has 1 500 turns per phase on the  primary winding and 50 turns per phase on the secondary winding.  The supply voltage is 3,3 kV. 

FIGURE 3.4: THREE-PHASE TRANSFORMER 
Given: 

N_P = 1 500 turns 
N_S = 50 turns 
V_L(P) = 3,3 kV 

Calculate the: 
3.4.1 Turns ratio of the transformer (3)
3.4.2 Primary phase voltage (2)
3.4.3 Secondary phase voltage (3) 
3.4.4 State, with a reason, whether the transformer in QUESTION 3.4 is a  step-down or a step-up transformer. (2) [20] 

QUESTION 4: THREE-PHASE MOTORS AND STARTERS 
4.1 Refer to a three-phase squirrel-cage induction motor and answer the questions that follow. 
4.1.1 State TWO advantages of this motor over a single-phase motor. (2)
4.1.2 State how the direction of rotation may be changed. (2)
4.1.3 Describe the basic operation of the motor. (7) 
4.2 Explain why it is important to do a mechanical inspection of a motor before it is  energised. (2) 
4.3 Explain what will happen to the speed of an induction motor if the supply  frequency is increased. (2) 
4.4 Describe why an insulation test between windings must be carried out on an  induction motor. (2) 
4.5 Name ONE mechanical test that must be carried out on a motor before it  is energised. (1) 
4.6 A three-phase delta-connected motor draws a current of 9 A at full load and  delivers an output power of 4 kW when connected to a 380 V/50 Hz supply.  The motor has a power factor of 0,8. 
Given: 

V_L = 380 V 
I_L = 9 A 
P_OUT = 4 kW 
f = 50 Hz 
p.f. = 0,8 

Calculate the following at full load: 
4.6.1 Input power of the motor (3)
4.6.2 Efficiency of the motor (3)
4.7 FIGURE 4.7 below represents the control circuit of an automatic sequence  starter.  

FIGURE 4.7: CONTROL CIRCUIT OF  AN AUTOMATIC SEQUENCE STARTER 
4.7.1 State the TWO conditions that must be met for the contact labelled MC₁ N/O₂ to close.   (2) 
4.7.2 Explain the function of the timer. (2)
4.7.3 State what determines the settings of O/L₁ and O/L₂. (1)
4.7.4 Describe the operation of the circuit. (5) 
4.8 A star-delta starter is used to limit the starting current of a motor at start.  Describe how the starter achieves its function. (3) 
4.9 Explain how a contactor may be used as a switch. (3) [40]

QUESTION 5: RLC 
5.1 FIGURE 5.1 below shows a capacitor connected to a 240 V/50 Hz supply.

FIGURE 5.1: CAPACITOR CIRCUIT 
Given: 

V_T = 240 V 
f = 50 Hz 
X_C = 27 Ω 

5.1.1 Calculate the capacitance of the capacitor. (3) 
5.1.2 Explain what will happen to the current flow if the supply frequency is increased. (3) 
5.2 FIGURE 5.2 below shows a series RL circuit. Draw the phasor diagram that  represents the circuit. 
 
FIGURE 5.2: SERIES RL CIRCUIT (5) 
5.3 FIGURE 5.3 below shows a parallel RL circuit connected to a 240 V/50 Hz supply. 

FIGURE 5.3: PARALLEL RL CIRCUIT 
Given: 

I_R = 7 A 
I_L = 6 A 
V_T = 240 V 
f = 50 Hz 

Calculate the: 
5.3.1 Inductive reactance (3)
5.3.2 Inductance (3) 
5.3.3 Total current (3)  [20] 

QUESTION 6: LOGIC 
6.1 Name FOUR main components of a simple PLC. (4)
6.2 State THREE advantages of a PLC system over a hardwired system. (3)
6.3 Draw a fully labelled block diagram of a PLC scan cycle. (3) 
6.4 Write the simplified Boolean equation for the expression below. Use a  three-variable Karnaugh map.  

X =A B C+A B C+ ABC+ A B C(9) 

6.5 Simplify the following Boolean equation by using Boolean algebra: (Show ALL  the steps.) 

Q = AB C+ AB C+ A B C(5) 

6.6 Refer to a ladder logic diagram and explain the application of the following  terms: 
6.6.1 Counter (2)
6.6.2 Marker (2)
6.6.3 Latch (2)
6.7 Refer to FIGURE 6.7 below and answer the questions that follow. 

FIGURE 6.7  
6.7.1 Draw the ladder logic diagram that will execute the same function in  a PLC system. (9) 
6.7.2 Give ONE example where the circuit in FIGURE 6.7 may be used in  an electrical application. (1) [40]

QUESTION 7: AMPLIFIERS 
7.1 State the polarity of the output voltage of the operational amplifier (op amp) in  FIGURE 7.1 below for the following inputs, if: 
7.1.1 V₁ > V₂ (1)
7.1.2 V₁ < V₂ (1) 

FIGURE 7.1: OP AMP 
7.2 Explain the term open loop gain. (2)
7.3 FIGURE 7.3.1 below shows the input to a voltage comparator op amp in  FIGURE 7.3.2. Draw the input signal and directly below that, on the same  y-axis, draw the output signal. 

FIGURE 7.3.1: INPUT TO A VOLTAGE COMPARATOR OP AMP 

FIGURE 7.3.2: VOLTAGE COMPARATOR OP AMP (4)
7.4 Name TWO applications of an inverting amplifier. (2) 
7.5 Refer to the astable multivibrator circuit diagram in FIGURE 7.5 below and  answer the questions that follow. 

FIGURE 7.5: ASTABLE MULTIVIBRATOR 
7.5.1 Draw a labelled output signal of the astable multivibrator. (4)
7.5.2 State ONE application of the astable multivibrator. (1) 
7.6 FIGURE 7.6 below shows the input signal to an inverting comparator.  The reference voltage is greater than zero. Draw the input signal and directly  below that, on the same y-axis, draw the output signal. Label your answer. 

FIGURE 7.6: INPUT SIGNAL TO AN INVERTING COMPARATOR (4) 
7.7 FIGURE 7.7 below shows the input signal to a non-inverting comparator.  The reference voltage is equal to zero. Draw the input signal and directly  below that, on the same y-axis, draw the output signal. Label your answer. 

FIGURE 7.7: INPUT SIGNAL TO A NON-INVERTING COMPARATOR (4)
7.8 State TWO applications of the differentiator op amp. (2)
7.9 Calculate the resonant frequency of a Hartley oscillator op amp which has a  47 nF capacitor and two coils with a total inductance of 2,2 H connected in  the circuit. 
Given: 

L_T = 2,2 H 
C = 47 nF (3) 

7.10 FIGURE 7.10 below shows the input signal to a Schmitt trigger op amp.  Draw the input signal and directly below that, on the same y-axis, draw the output signal when the Schmitt trigger is connected in the inverting  configuration. 

FIGURE 7.10: INPUT SIGNAL TO A SCHMITT TRIGGER OP AMP (3) 
7.11 State TWO applications of a Schmitt trigger. (2)
7.12 An input voltage of 10 V is supplied to the input of an inverting amplifier circuit  with an input resistor of 20 kΩ and a feedback resistor of 200 kΩ.  The amplifier circuit is connected to a split voltage supply.  Calculate the: 
7.12.1 Output voltage of the amplifier (3)
7.12.2 Amplification factor of the amplifier (3)
7.13 Refer to FIGURE 7.13.1 below and answer the following questions. 

FIGURE 7.13.1: BISTABLE MULTIVIBRATOR OP AMP CIRCUIT 
7.13.1 State TWO applications of the op amp. (2) 
7.13.2 Draw the input trigger pulse in FIGURE 7.13.2 below and directly  below that, on the same y-axis, the correct output in relation to the  given input. Take the initial output voltage as maximum positive. 

FIGURE 7.13.2 (6) 
7.14 Calculate the resonant frequency of a three-stage RC phase-shift oscillator  with resistors values of 25 kΩ and capacitors values of 47 nF. (3) [50] 

TOTAL: 200

ENGINEERING GRAPHICS AND DESIGN
PAPER 2
GRADE 12 
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 2018

QUESTIONS

ENGINEERING GRAPHICS AND DESIGN
PAPER 2
GRADE 12 
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 2018

MEMORANDUM 

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

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 how the diagram of any ONE of the 20th Century Theatre Movements  in SOURCE A reflects the subject matter, socio-political context and plot structure of  the play text you have studied. Create an original argument, in the form of an  evaluative essay, which refers to the question, the diagram you have chosen, the play  text you studied and its associated Theatre Movement (Theatre of the Absurd or  Epic Theatre or Postmodern Theatre). 
Indicate the title of the play text you have studied at the top of your essay.

TOTAL SECTION A: 30

SECTION B: SOUTH AFRICAN THEATRE: 1960–1994 
Answer only ONE question in this section. 
QUESTION 2: WOZA ALBERT! BY PERCY MTWA, MBONGENI NGEMA AND  BARNEY SIMON 
Study SOURCE B below and answer the questions that follow.
SOURCE B 

2.1 Identify the 'Albert' referred to in the title and state what he represents. (2) 
2.2 Explain, with examples, how Mbongeni Ngema and Percy Mtwa created the  music in the original production of Woza Albert!, through their use of vocal  and physical skills. (4) 
2.3 Analyse why the use of 'pre-recorded music' (lines 1–2) may change the  impact of a production of Woza Albert!. (3) 
2.4 Motivate why the play, Woza Albert!, may still be a success even 'more than  three decades after its premiere' (line 5). (4)
2.5 You are responsible for directing a scene in Woza Albert! using a genre that is  different from Poor Theatre. 
2.5.1 Name the genre you will use to direct your scene. (1)
2.5.2 Describe the scene you have selected. (2) 
2.5.3 Explain how you could stage the scene to reflect the characteristics  of the genre you selected in QUESTION 2.5.2. (6) 
2.6 Analyse why the final scene of Woza Albert! is a 'thrilling conclusion' (line 12)  to the play and has the ability 'to inspire solidarity (unity) and action' (line 15). (6) 
2.7 Evaluate whether the 'sociopolitical and economic situation' (line 6) portrayed  in Woza Albert! is still relevant to South Africa today.  
Your evaluation should include THREE specific examples from the play text  and TWO examples of current events. (12) [40]

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

3.1 Refer to SOURCE C. 
3.1.1 Describe the mood created by the song and the effect it may have  on the audience. (2) 
3.1.2 Motivate what the car in the song might symbolise. (4) 
3.1.3 Explain the purpose of the song as a theatrical device in this  scene. (2) 
3.1.4 Suggest why the creators of Sophiatown chose to use a variety of  languages in the play. (4) 
3.1.5 Motivate how you would stage SOURCE C in order to  communicate the message of this scene. (6) 
3.1.6 Discuss the vocal and physical skills required by the actors in order to perform this scene effectively. (6)

SOURCE D 

3.2 Refer to SOURCE D.  
3.2.1 Explain any TWO of 'society's laws' which prevented the characters  in Sophiatown from 'reaching their own goals' (line 2). (4) 
3.2.2 Evaluate how the many conflicts between the characters reflect the  mood and messages of Sophiatown. 
Substantiate your answer by referring to the following: 

• Interpersonal conflict (conflict between characters)
• Internal conflict (conflict within a character)
• Decisions made by the characters and the resulting actions,  behaviour and consequences (12) [40]

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

Refer to SOURCE E and then imagine that you are the director of a new production of  Siener in die Suburbs. You are being interviewed by the media before the opening  night of the play. They ask you the following questions: 
4.1 Name the setting (time AND place) of the play. (2) 
4.2 Name the type of dramatic structure used by the playwright of Siener in  die Suburbs. (1) 
4.3 Suggest how the time of the action is a reflection of the realistic nature of  the play. (2) 
4.4 Give a brief character sketch of Ma which will be included in the programme notes of the play. (3) 
4.5 Describe, with reasons, the choice of costume that you have selected for the  actor playing the role of Ma in your production. (4) 
4.6 Name and describe the vocal and physical skills an actor would require to  portray the role of Ma effectively. (6) 
4.7 Discuss the significance of the 'enkelgarage' (line 3) to the action in the play. (6) 
4.8 Suggest what might be the dramatic value of including 'AT YOUR OWN RISK' (line 7), painted red, on the set of the play. (4)

SOURCE F 

4.9 Refer to SOURCE F. 
'After more than 40 years the characters, conflict and dialogue still 'retain  power' (line 2). 
Evaluate the validity (truth) of the statement above. You must refer to the  following in your discussion: 

• Characters
• Conflict
• Dialogue
• Relevance to society today (12) [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 G below and answer the questions that follow. 
SOURCE G 

5.1 Describe how the actor playing Sipho could 'enter(s) the kitchen unnoticed'  (line 1). (2) 
5.2 Explain how Sipho's entrance could add to the dramatic tension of this scene. (3)
5.3 Refer to Thando's words in line 4. 
5.3.1 Suggest why Thando is 'so excited and confused at the same time'. (2) 
5.3.2 Analyse how the actor playing Thando could reflect that she is  'excited and confused at the same time' through her vocal and  physical skills. (4)
5.3.3 Motivate why Mpho's opinion is so important to Thando. (3)
5.4 Discuss the reasons for the conflict between Mandisa and Sipho. (4)
5.5 Refer to Sipho's words in line 14. 
5.5.1 Explain why Sipho makes this statement by referring to TWO examples in the play as to why he feels this way. (6) 
5.5.2 Describe the tone of voice the actor playing Sipho could use to  emphasise his feelings in this scene (2) 
5.6 Explain why the audience might find line 15 humorous in the context of the  play as a whole. (4) 
5.7 Realistic drama is real life portrayed on stage.  
Evaluate how Nothing But The Truth is 'real life portrayed on stage'.  
In your discussion refer to the following: 

• Language
• Characters
• Staging (10) [40]

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

6.1 Identify the genre of the play Groundswell. (1) 
6.2 Name the characters marked A, B and C in SOURCE H. Write only the letter  and the name next to the question number (6.2). (3) 
6.3 Explain how the costume of each actor in SOURCE H reflects his character  and situation. (6) 
6.4 Motivate how each actor's posture and dialogue is suitable for the character  he is playing (SOURCE H). (6) 
6.5 The characters in Groundswell are complex individuals, driven by their  personal desires and dreams. This is why tension between the characters  exists. 
Discuss this statement by referring to how the characters add to the dramatic  tension in Groundswell. (6) 

SOURCE I 

6.6 After watching a recent production of Groundswell, you are required to  respond to the accusations and criticisms of the tweet in SOURCE I to defend  the universal nature of the play. 
6.6.1 Argue against the statement: 'The play is gender biased.' (4) 
6.6.2 Comment on the personal bias of the tweet to show how we can  be influenced by social media. (4) 
6.6.3 Evaluate why everyone would benefit from studying and watching  this play. 
In your discussion refer to the following:  

• Characters 
• Themes of belonging and identity (10) [40]

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

Your Dramatic Arts teacher presents you with the advertisement above to use as  inspiration when you direct your own production of Missing at your school.  
7.1 Explain the significance of the following in the play: 
7.1.1 '31 August' (line 1) (1)
7.1.2 'The wind is howling' (line 1) (1)
7.1.3 'circus music' (line 2) (2)
7.2 Suggest the symbolic significance of Reza de Wet's choice of colour for the  'confirmation dress' (lines 3–4). (2) 
7.3 Analyse how the advertisement creates a mysterious mood. (SOURCE J) (4) 
7.4 Evaluate whether you think the inclusion of the picture used in the advertisement for the play is appropriate. (SOURCE J) (4) 
7.5 Describe the type of stage you would choose for your own production of  Missing. Refer to the GENRE as well as TECHNICAL considerations with  regard to the play. (6) 
7.6 Name any TWO props you wish to include in the play in order to highlight the  themes of the play. Motivate why you want to include the props named. (4) 
7.7 The advertisement refers to the 'blind constable' (line 6). (SOURCE J) Explain the significance of blindness as a motif (image) in the play as a whole. (6) 
7.8 Write to your school principal to motivate why Missing is an excellent choice  of play to be staged at your school.  
Include the following in your discussion: 

•  Knowledge of Dramatic Arts skills
• Analysis of the play text (genre, characters, themes and relevance)
• Budget and staging (10) [40] 

TOTAL SECTION C: 40

SECTION D: THE HISTORY OF THEATRE, PRACTICAL CONCEPTS, CONTENT  AND SKILLS 
This section is COMPULSORY. Answer QUESTIONS 8 AND 9. 
QUESTION 8  
Study SOURCE K below and answer the questions that follow. 
SOURCE K 

8.1 Identify the parts of the stage labelled A and B. (2)
8.2 Give TWO possible theatrical uses for the ladders in SOURCE K. (4) 
8.3 Discuss how the staging in SOURCE K could reflect any ONE 20th century  movement (-ism) you studied this year. (4)

SOURCE L 

8.4 Describe Grotowski's use of space in Kordian in SOURCE L. (4)
8.5 Identify and explain any TWO of Grotowski's principles of acting. (6) 
8.6 Analyse the staging challenges that Grotowski might have faced when  directing this production. (4) 
8.7 Explain the impact this kind of theatrical production might have had on the  audience members watching the play.  
Refer to the following:  

• Staging
• Setting of the play (4) [28]

QUESTION 9 
Study the source below and answer the questions that follow. 
SOURCE M 

Apply your knowledge of dramatic processes, principles and skills and discuss how  Dramatic Arts promotes the aims of the National Curriculum in SOURCE M.  
Refer to the following: 

• Play texts you have studied and lessons learnt
• Perfomances you have seen and their impact
• Productions in which you have participated and how you developed [12] 

TOTAL SECTION D: 40 
GRAND TOTAL: 150

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