DRAMATIC ARTS
GRADE 12 
NSC EXAMS
PAST PAPERS AND MEMOS NOVEMBER 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 consists of ONE question (QUESTION 8) which is COMPULSORY.

QUESTIONS 

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

Evaluate, in an essay, how the play and the 20th Century Theatre Movement that you  studied this year voices (expresses) innovation (originality) when reflecting on life and  society of the time.  
The content of your essay should refer to the question and include the following: 

• Any dramatic elements contained in SOURCE A 
• The play text you studied 
• The 20th Century Theatre Movement you studied:
  • Theatre of the Absurd OR Epic Theatre OR Postmodern Theatre
  • Specific examples from the play text you studied 

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 

*Roadshow: a group of theatre performers who tour with their play and perform at various  venues, often for the purpose of sharing information or educating a community 
You and your class have decided to present selected scenes from the play Woza  Albert! at local schools as part of a road show for Grade 12 learners. You have applied  Grotowski's principles of Poor Theatre to your new production titled Woza Woza Albert! 
2.1 State why the new title, Woza Woza Albert!, may be a good title for your road  show production. (2) 
2.2 Justify why you think your road show will be helpful to Grade 12 learners. (6) 
2.3 Explain whether or not the poster in SOURCE B will promote the road show  successfully. (4) 
2.4 Analyse how the issues of the 'Dreaded Pass Law' and the 'Dreaded Dompas'  are highlighted in the play. (6) 
2.5 Discuss TWO possible difficulties you and your class may face when  preparing to take your road show to other schools. (4) 
2.6 Explain how the following principles of Grotowski's Poor Theatre may be  applied to your road show: 

• Set and props 
• Actor-audience relationship (8) 

2.7 Discuss how the idea of Morena coming back to an apartheid South Africa is central (important) to the creation and messages of Woza Albert!. (10) [40]

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

*Roadshow: a group of theatre performers who tour with their play and perform at various  venues, often for the purpose of sharing information or educating a  community 
You and your class have decided to present selected scenes from the play Sophiatown at local schools as part of a road show for Grade 12 learners. 
3.1 Suggest a suitable title for your production. Motivate your answer. (2)
3.2 Choose a scene from Sophiatown that the group may present. 
3.2.1 Briefly explain what happens in the scene you have chosen. (4) 
3.2.2 Describe a suitable costume for TWO of the characters in the  scene you have chosen in QUESTION 3.2.1. (4) 
3.2.3 Advise ONE character in the scene you have chosen on how to  prepare for the vocal and physical demands of the role. (6) 
3.3 SOURCE C contains ideas that you may use to advertise your road show. 
3.3.1 Evaluate the statement, 'Sophiatown takes you on a journey back  in time … or does it?', to show the play's relevance then and now. (6) 
3.3.2 Motivate ONE other way you might choose to advertise the road  show. (2) 
3.4 Justify TWO other theatrical items that you might include in your production to  reflect the Sophiatown of the 1950s. (6) 
3.5 Refer to the information given in SOURCE C and evaluate how it reflects life  in Sophiatown, the place, and Sophiatown, the play.  
Include the following: 

• Sociopolitical issues 
• Themes (10) [40]

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

*Roadshow: a group of theatre performers who tour with their play and perform at various  venues, often for the purpose of sharing information or educating a community 
You and your class have decided to present selected scenes from the play Siener in  die Suburbs at local schools as part of a road show for Grade 12 learners. 
4.1 Suggest a suitable title for your production. Motivate why you think it is  suitable. (2) 
4.2 Choose a scene from Siener in die Suburbs that the group might present.
4.2.1 Briefly explain what happens in the scene. (4) 
4.2.2 Describe suitable costumes for TWO of the characters in the  scene. (4) 
4.2.3 Advise ONE character in the scene on how to prepare vocally and  physically for this role. (6) 
4.3 SOURCE D contains ideas that you might use for your advertising campaign. 
4.3.1 Evaluate the statement, 'Siener in die Suburbs takes you on a  journey back in time … or does it?', to show the play's relevance  then and now. (6) 
4.3.2 Suggest ONE other way you might choose to advertise your road  show and motivate why you choose it. (2) 
4.4 Explain the possible theatrical impact and audience reaction to the inclusion  of a motorbike in your production. (6) 
4.5 Evaluate, through an analysis of the characters and events in the text, how  PG du Plessis represents 'ideas of love' in Siener in die Suburbs. (10) [40] 

TOTAL SECTION B: 40

SECTION C: SOUTH AFRICAN THEATRE: POST-1994–CONTEMPORARY
Answer only ONE question in this section. 
QUESTION 5: NOTHING BUT THE TRUTH BY JOHN KANI  
Study SOURCE E below and answer the questions that follow. 
SOURCE E

Read the front page of the local newspaper, The Daily Mirror, which relates to Nothing  But The Truth and answer the questions that follow. 
5.1
5.1.1 What does the abbreviation TRC stand for? (1) 
5 1.2 Identify the character in Nothing But The Truth who works at  the TRC. (1) 
5.1.3 Explain the meaning of the term amnesty. (2)
5.1.4 Suggest why the name of the newspaper is suitable for this play. (3)
5.2 Give an example in the play text of a TRC case. (2) 
5.3 Based on your understanding of the characters and situations in the play,  would you consider making Nothing But The Truth a short TV series? Give  reasons for your answer. (4) 
5.4 Explain why Sipho Makhaya is shocked and angry that his late brother, Themba, has been cremated. (3) 
5.5 Describe the system/method an actor playing Sipho might use to prepare for  the emotional demands of his role. (6) 
5.6 Evaluate how Nothing But The Truth reflects both Western and African  cultures. (6) 
5.7 Discuss how SOURCE E reflects the sociopolitical context, subject matter and  themes of the play. (12) [40]

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

Read the front page of the local newspaper, The West Coast Observer, which relates  to Groundswell and then answer the questions that follow. 
6.1
6.1.1 Suggest why the name of the newspaper is suitable by referring to  the play text. (2) 
6.1.2 Explain why Garnet Lodge is an effective setting for the play. (4) 
6.1.3 Assess how the quote of the day in SOURCE F reflects the serious  mood of the play. (4) 
6.1.4 Motivate why Groundswell may be called a psychological drama by  analysing the characters in the play and their relationships. (6) 
6.1.5 Analyse how SOURCE F reflects the context and subject matter  (content) of the play. (6) 
6.2 Advise the actor who wants to play the role of Johan on how to portray the  character realistically on stage. (6) 
6.3 Evaluate the possibility that Johan, Thami and Smith may not be able to move  forward with their lives and fulfil their dreams after the play has ended.  Refer to specific examples in the play text to substantiate your answer. (12) [40]

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

7.1 Read the front page of the local newspaper, The Daily Gossip, which relates  to Missing and then answer the questions that follow. 
7.1.1 Suggest why the name of the newspaper is a good choice by   referring to the play text. (2) 
7.1.2 Suggest a date you would add to the front page of the newspaper. (2)
7.1.3 Explain the different possible meanings of the title of the play. (4) 
7.2 Write a character sketch of Constable, who may be 'wanted' for the  kidnapping of Meisie, to assist The Daily Gossip with the correct information. (4) 
7.3 Suggest why the women in the play allow a man, who is a total stranger, to  enter the house. (4) 
7.4 Advise an actor, who wants to play the role of Constable in the play, on how  to portray the character on stage in a convincing manner. (6) 
7.5 Explain how the effects of the Great Depression are highlighted in the play  text as a whole. (4) 
7.6 Name and motivate ONE other product that you could advertise in the  newspaper. Do NOT use a product that is already mentioned in SOURCE G. (2) 
7.7 Discuss the importance of the circus as the main symbol in the play.  Refer to the following in your answer:  

• Genre 
• Mood and atmosphere 
• Characters (12) [40] 

TOTAL SECTION C: 40

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

Emotional Creature is a production created by Eve Ensler. It shows  challenging issues faced by girls around the world. It is made up of  monologues, poems and prose pieces, all performed by girls. The poster  above was used to promote the production.  
8.1.1 Explain the differences between monologues, poems and prose  pieces. (6) 
8.1.2 Assess whether the poster in SOURCE H would be successful to  advertise the production. (4) 
8.1.3 Give the production another suitable title and a #hashtag. Motivate  your new title. (4)
8.2 Study SOURCE I below and answer the questions that follow. 

SOURCE I 

You and your class have decided to perform the extract in SOURCE I, from  the play Emotional Creature, at the local Youth Day celebration. 
Describe your ideas on how to stage the extract and its relevance at a Youth  Day celebration.  
Refer to the following in your answer: 

• Vocal and physical performance 
• Technical and theatrical elements (10) 

8.3 Name ONE other performance item that would reflect the messages and  culture of Youth Day celebrations in South Africa. Motivate your answer. (4) 
8.4 

Discuss Eve Ensler's observation about the theatre. 
Refer to any play, theatre movement or theatre practitioner you have studied. Give information on a different genre/dramatic movement than the one you  discussed in QUESTION 1. (12) [40] 

TOTAL SECTION D: 40 
GRAND TOTAL: 150