DRAMATIC ARTS PAPER
GRADE 12
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2016

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of FOUR sections.

SECTION A: 20th Century Theatre Movements 30 marks
SECTION B: South African Theatre: 1960–1994 40 marks
SECTION C: South African Theatre: Post 1994 40 marks
SECTION D: Theatre History, Practical Concepts, Content and Skills 40 marks 

QUESTIONS

2. SECTION A 
All candidates must answer the questions by referring to the play text they have  studied and its relevant 20th century theatre movement. 
Epic Theatre 

THEATRE OF THE ABSURD 

POSTMODERN THEATRE 

3. SECTION B: SOUTH AFRICAN THEATRE (1960–1994) 
This section consists of THREE questions. Candidates must answer only ONE  question from this section. 

QUESTION 2: Woza Albert! Percy Mtwa, Mbongeni Ngema and Barney Simon
QUESTION 3: Sophiatown Junction Avenue Theatre Company
QUESTION 4: Siener in die Suburbs P.G. du Plessis

4. SECTION C: SOUTH AFRICAN THEATRE (POST 1994) 
This section consists of TWO questions. Candidates must answer only ONE  question from this section. 

QUESTION 5: Nothing but the Truth John Kani 
QUESTION 6: Missing Reza de Wet 

5. SECTION D: THEATRE HISTORY, PRACTICAL CONCEPTS, CONTENT AND  SKILLS 
This section consists of FOUR questions. QUESTION 7 is COMPULSORY. QUESTION 7: The History of Theatre (COMPULSORY) 
Answer ONLY ONE of the following questions: 

QUESTION 8: VOCAL AND PHYSICAL WORK OR 
QUESTION 9: LIVE PERFORMANCE OR 
QUESTION 10: CULTURAL PERFORMANCES AND RITUALS 

NOTE TO TEACHERS 
SECTION D may contain a different number of questions each year depending on the  aspects that are tested and the source material used.

SECTION A: TWENTIETH CENTURY THEATRE MOVEMENTS 
QUESTION 1: 20TH CENTURY THEATRE MOVEMENTS 
Refer to the 20th century “ism” that you studied this year to answer this question. Study the following quote and answer the question that follows. 

www.acting-classes-online-tips.com 

Consider the theatrical techniques of the play that you have studied and evaluate how these  techniques influence the performance of the main character(s). 
Refer to the following in your essay: 

• Research 
• Text analysis 
• Creating a character 

Your essay should be approximately THREE pages in length. 

TOTAL SECTION A: 30

SECTION B: SOUTH AFRICAN THEATRE [1960–1994] 
Answer ONLY ONE question from this section. 
QUESTION 2: WOZA ALBERT! BY PRECY MTWA, MBONGENI NGEMA AND  BARNEY SIMON 
2.1 Identify TWO biblical references evident in the play Woza Albert!. (2) 
2.2 Discuss the concept of archetypes/stereotype characters and give examples from the  play. (6) 
2.3 Does Woza Albert! fit under the term ‘agitprop’? 

Support your answer by referring to an issue addressed in the play. (5) 

2.4 Comment on the use of costumes as a form of character transformations in the play  Woza Albert! (5) 
2.5 Explain the term ‘satire’ in terms of Woza Albert! Give an example from the play. (4) 
2.6 How can an actor use vocal and physical skills to perform in a production like Woza  Albert!? (8) 
2.7 What evidence do we find in the play that justifies the application of Poor Theatre  techniques? 
Refer to Poor Theatre conventions and examples from the play to support your answer. (10)

[40] 

OR

QUESTION 3: SOPHIATOWN BY JUNCTION AVENUE THEATRE COMPANY
3.1 Name THREE reasons why people make community theatre. (3)
3.2 Can Sophiatown be labelled as a community theatre production? 
      Provide TWO reasons for your answer. (4) 
3.3 Read the following extract from the University of Johannesburg written by Natasha  Erlank and Karie L Morgan, Sophiatown.2015, and answer the questions that follow. 

3.3.1 Which political activities do you think were practised in the suburb of  Sophiatown during the above suggested era? Discuss at least TWO events. (5) 
3.3.2 Discuss the reasons why Sophiatown’s lifestyle is labelled as multi-cultured. (6) 
3.3.3 Explain how the political situation of that time played a role in the dismantling  of this multi-cultural environment. (5) 
3.3.4 Mention any TWO writers who lived during the era of Sophiatown. (2)

3.4 Consider the following extract and answer the questions that follow: 

[House of Bondage, Cole (1968:123)] 

How do the activities done by the characters of Mingus and Charlie verify the above  quote? (6) 

3.5 Consider the society of Sophiatown and the cultural vibrancy thereof and answer the  following question. 

Write brief notes suggesting how Sophiatown may be seen as the South Africa that  we all wish for, especially culturally. (10)

[40] 

OR

QUESTION 4: SIENER IN DIE SUBURBS BY P.G. DU PLESSIS 
4.1 What are the socio-political conditions that are contained in the text of Siener in die  Suburbs? Name at least TWO. (5) 
4.2 Comment on the use of stock characters in the play Siener in die Suburbs. Use  examples from the play. (5) 
4.3 Think about the objectives of the protagonist in Siener in die Suburbs and discuss the  following: 

How does the character of Jakes appear to be the antagonist in the play Siener in die  Suburbs? Consider his role in the plot of the play. (10) 

4.4 How would you dress the character of Tiemie to reflect her role and socio-economic  status in the play? (5) 
4.5 How would you use setting to effectively stage a scene from Siener in die Suburbs at  your school? (10) 
4.6 Is it still necessary for the current South African audiences to see a production of  Siener in die Suburbs? Give reasons for your answer. (5)

[40] 
TOTAL SECTION B: 40

SECTION C: SOUTH AFRICAN THEATRE [POST 1994] 
This section consists of TWO questions. Candidates must answer only ONE question  from this section. 
QUESTION 5: NOTHING BUT THE TRUTH BY JOHN KANI 
5.1 Consider the following excerpt from Portal Studios and answer the question that  follows: 

What is the triggering event in Nothing but the Truth? Use the play as reference to  support your answer. (4) 

5.2 Discuss the cultural conflict found in the play Nothing but the Truth. 

Use ONE character from the play as an example. (6)

5.3 Can Nothing but the Truth be set on a traverse stage? 

Give at least THREE reasons for your answer. (6) 

5.4 Identify reasons from the plot of Nothing but the Truth that make it suitable under the  term ‘narrative’. (6) 
5.5 Is melodrama an appropriate performance style for a play like Nothing but the Truth? Support your answer by using the play as a reference. (8) 
5.6 Discuss the theme of reconciliation as evident in the play Nothing but the Truth. (10)

[40] 

OR

QUESTION 6: MISSING BY REZA DE WET 
6.1 What does it mean if a character is said to be ‘multi-dimensional’? 

Give an example from the play Missing. (4) 

6.2 Determine the reasons why some playwrights tend to use nameless characters in  their plays. Refer to the character of Constable in your answer. (6)
6.3 Mention the sound effects and what they suggest about the world outside the house  of Miem in the play Missing. (5) 
6.4 The playwright uses deliberate repetition of character actions in the play. Meisie  repeatedly goes to the window to peep and Miem always objects to that. 

Consider this and write a brief paragraph in which you discuss how an actor can  demonstrate the relationship between Miem and Meisie by using actions. (5) 

6.5 Consider the following extract and answer the question that follows: 

Validate the above quote with reference to the character of Meisie. Use the play as a  source to support your answer. (10) 

6.6 Discuss the different levels at which the theme of blindness has been addressed in  the play Missing. (10)

[40] 
TOTAL SECTION C: 40

SECTION D: THEATRE HISTORY, PRACTICAL CONCEPTS, CONTENT AND SKILLS 
This section consists of FOUR questions. 
QUESTION 7 is COMPULSORY. 
QUESTION 7: THEATRE HISTORY (COMPULSORY) 
7.1 Refer to the image below (SOURCE A) and answer the questions that follow: 

7.1.1 What type of stage is displayed in SOURCE A? (2) 
7.1.2 List TWO types of skills a performer would need to perform on this type of  stage. (2) 
7.1.3 Identify the strongest focal point in SOURCE A. Provide a motivation for your  answer. (2) 

7.2 Explain the term Existentialism. (2)
7.3 Who was the founder of Theatre of Cruelty? (2)
7.4 What was the main aim of Theatre of Cruelty? (2)
7.5 It is said that the world is currently in a postmodern state. 

What does the term Postmodernism mean? (2) 

7.6 Explain some reasons that served as impulse for the origin of the 20th century isms and provide some examples of theories and or events to motivate your response. You  may select examples from the isms that relate to the plays that you have studied. (6)

[20]

Answer ONLY ONE of the following questions. 
QUESTION 8: VOICE AND PHYSICAL WORK 
8.1 Warm-ups, both vocal and physical, are vital components of Dramatic Arts. 

Design a vocal warm-up, incorporating the use of consonants, intonation and  articulation. (9) 

8.2 When preparing for a character role, physically ‘getting into character’ can be  challenging. 

Discuss the process that you would follow when preparing for one of the characters  from a South African play that you have studied in Dramatic Arts. 
State the name of the play and, importantly, the name of the character to which you  will be referring. (8) 

8.3 Referring to physical and vocal characterisation, a performer must be able to  internalise a character.  

What does it mean to internalise a character? (3)

[20] 

OR 

QUESTION 9: LIVE PERFORMANCE 

9.1 You have been working towards your theme programme as your final practical  assessment. 

Write notes on your theme, the message you want to leave the audience with, and  why it is relevant to explore this theme today. (6) 

9.2 Study the following elements you need to consider when putting together a theme  programme: 

• Choosing your theme 
• Having a catchy title 
• Constructing the programme 
• Creating links 
• Blocking the programme 
• Exploring your space 
• Exploring your energies 

In a short essay, discuss how you put your programme together. Refer to at least  THREE elements stated above and explain how you worked through that specific  element. (8)

9.3 When preparing for a monologue, there are also a number of elements you need to  consider, such as: 

• Relationships 
• Conflict 
• The moment before 
• Humour 
• Communication 
• Discoveries 

Choose TWO elements that you used in preparation for your individual spoken piece.  Write a paragraph explaining each element, as well as how you used this element to  prepare for your individual spoken piece. (6)

[20]

OR 

QUESTION 10: CULTURAL PERFORMANCE AND RITUAL 
The following is a list of some of the elements of drama: 

• Focus 
• Rhythm 
• Contrast 
• Mood 
• Space 
• Sound 
• Symbol 
• Conflict
• Climax 

Theatre or drama has been seen as originating from ritual in many studies. Many critics  belief that there’s a vivid similarity in the manner theatre or drama structures its narratives  and even the ‘theatre experience’ itself. 
Choose FOUR elements from the list provided above and write a paragraph for each in  which you explain the reasons why a ritual may be seen as closely related to a theatre or  drama performance. [20]

TOTAL SECTION D: 40 
GRAND TOTAL: 150