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