Dramatic Arts Paper 1 (English)

May-June 2018 — Grade 12 / Matric — Dramatic Arts

Past Paper 2018 Grade 12 English

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🎯 150 marks ⏱️ 3h 📄 13 pages 📝 66 items found 📚 3 topics

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Questions — A Preview of What to Expect in the Document

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Q1— Section header —

Q2— Section header —

Q3— Section header —

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Q5— Section header —

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Q8— Section header —

Q1— Section header —

2.1Explain what the pink n oses (line 1\ refer to in the play. (2\

2.2Suggest why the creators of Woza Albert! chose to use the real names of actors in the play. (2\

2.3Describe how you might stage lines 3 to in SOURCE B. Refer to the following: Use of voice and body se of performance space/blocking (6\

2.4Analyse the possible chall enges an actor may experience when playing many roles in Woza Albert (4\

2.5The s tage directions in lines 1 and 2 include the words bloody bandage and military hats . Explain whether these descriptions in the stage directions are necessary for the success of the scene.

2.6Explain the events leading up to Operation Coronation (lines 7 and 20\. (4\

2.7Identify and evaluate examples of the following forms o f comedy in this scene: Physical comedy Verbal/ ocal comedy (6\

2.8Assess why Woza Albert! could be described as a form of Protest Theatre. (4\

2.9Discuss how Woza Albert! succeeded in educating and mobilising audiences through its content and style of performance (10\ [40]40

Q3— Section header —

3.1Explain why Mingus asks Jakes to write a love le tter for him. (2\

3.2Suggest why an audience may find the ending of the letter, Yours in loving memory (line 22 funny (2\

3.3Comment on how the characters relate to one another in this scene SOURCE (4\

3.4Discuss, with line references, how you might block the scene to show these relationships. (6\

3.5Relate the story that Jakes has up his sleeve that will floor the lot of them ines 12 and (4\

3.6Suggest the most truthful physical and vocal techniques the actor p laying Mingus in SOURCE C might use. (6\

3.7Sophiatown could be described as Protest Theatre. What elements of Protest Theatre can you identify from the play to support this statement? (6\

3.8Assume you are Ruth. Write a journal entry in which you reflect on: Your personal experiences of life in Sophiatown Your personal experiences of the forced removals The effect of forced removals on the people living in Mamariti

Q4— Section header —

4.1State why, according to the play text, Tjokkie has the ability to see (1\ Name the TWO characters who force Tjokkie to see

4.8Discuss how ideas and themes , such as he fut ure to dream are examined

Q5— Section header —

5.1Describe the relationship between Sipho and Th ando shown in SOURCE by: he placement o

5.2Direct the actors playing Si pho and Thando on how to say their lines in the short extract in SOURCE E. (4\

5.3Comment with reasons on the suitability of EACH character s costume. (4\

5.4Suggest why Thando might be worried that Sipho is nervous based on the short dialogue in SOURCE E.

5.5At the end of the play Sipho has a climactic outburst. Analyse the events lead ing to this outburst. (6\

5.6Comment on the effectiveness of the r ealistic set design for the action of the play.

5.7Discuss how Nothing But The T ruth is an example of personal and universal econciliation. (12\ [40]40

Q6— Section header —

6.1Identify the setting of the play. (2\

6.2Describe the mood of this scene. (2\

6.3Motivate the inclusion of isiXhosa in the play text. (2\

6.4How does the positioning of the characters reflect their relatio nship and the mood of the scene? (4\

6.5Describe how partheid has affected the relationship between the characters in the play. (4\

6.6You have been cast as o ne of the characters in the play. Reflect on the techniques of a theatre practitioner that informed the development and portrayal of your character. (6\

6.7Describe an appropriate set that would complement the genre of the play (4\ 11

6.8Explain why you believe the director chose to produce this play at your school. (4\

6.9An important element of any realistic drama is conflict. Conflict drives the action of the play to its climax and concl usion. Discuss the significance of this statement. Refer to the plot, socio political

Q7— Section header —

7.1Describe how the mood of the scene is captured in the sta ge directions. Refer to lines 1 to (2\

7.2Outline, for the rest of your group, your id eas sound effects that could be added to create the mood and atmosphere in this scene (4\

7.3Identify the iro ny of Miem s words in line to (2\

7.4Suggest what line 1 reveals about Meisie s attitude toward the circus. (2\

7.5Evaluate the importance of light as a symbol in the play. Refer to examples from the play text as a whole in your answer. (6\

7.6Analyse wha values and attitudes Miem s character displays through her words and actions in SOURCE G. (4\

7.7plain how you would portray Miem s character both vocally and physically in lines 16 to 18. (8\

7.8Discuss how Reza de Wet develops the idea of the supernatural in the play. (12\ [40] TOTAL SECTION C: 1340

Q8— Section header —

8.1Define Poor Theatre

8.2Write brief notes on Grotowski s view of actors and acting. (4\

8.3Explain how South African t heatre was influenced by Poor Theatre during the days of Apartheid. (4\

8.4Briefly di scuss how the work of Stanislavski (line has contributed to the theatre world.

8.5Compare how Grot owski and Stanisla vski used theatre space in terms of the actor audience relationship.

8.6Suggest why Grotowski believed that theatre could not compete with rich film (line 1 (4\

8.7Compare the experience of watching a live theatre performance with wa tching a film (6\

8.8Describe how you have applied the principles of Grotowski OR Stanislavski OR f ilm to any of your practical performances during your study of Dramatic Arts (10\ TOTAL SECTION D: GRAND TOTAL:

Topics Identified

ActingDirectingPlaywriting

Mark Allocation

Total150 marks

Sections40 + 40 + 40 + 40 + 40 + 40 = 240 marks

Paper information

SubjectDramatic Arts

Year2018

SessionMay-June

TypePast Paper

PaperPaper 1

LanguageEnglish

Pages13

Downloads6

Examination context

Decade2010s

Years ago8y

Season—

Start day—

Exam period—

Days since exam—

About Dramatic Arts examination preparation

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Corresponding marking memorandum

Marking memorandum available

Use the corresponding memorandum after completing the paper to review your answers and identify areas that require further revision. The memorandum shows the marking approach used by DBE examiners, including method-mark allocations.

Dramatic Arts Memo 1 (English) →

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