Dramatic Arts Paper 1 (English)

November 2013 — Grade 12 / Matric — Dramatic Arts

Past Paper 2013 Grade 12 English

↓ Download PDF 📄 1.19 MB

Preparing document

📋 Document Analysis

🎯 150 marks ⏱️ 3h 📄 2 pages 📝 99 items found 📚 3 topics 🔑 1 key info

See full analysis

Questions — A Preview of What to Expect in the Document

This section provides a quick preview of questions from the document. It may not display every question or the complete wording of each one. For the full content, including diagrams, tables and other information, view the original PDF above.

Q1— Section header —

Q2— Section header —

Q3— Section header —

Q4— Section header —

Q5— Section header —

Q6— Section header —

Q7— Section header —

Q8— Section header —

Q9— Section header —

Q10— Section header —

Q11— Section header —

Q13— Section header —

13.3Number the answers correctly according to the numbering system used in this question paper. Pay attention to the number of marks allocated to each question Use your classroom knowledge, as well as independent and creative thinking,

Q1— Section header —

Q2— Section header —

Q1— Section header —

Q2— Section header —

Q3— Section header —

3.1Discuss whether you th ink that SOURCE A, a collage two photographs would be appropriate as a poster for a production of Boesman and Lena. (4\

3.4Describe the physical and vocal directions you would give to the actress playing Lena for her to ortray this scene realistically.

3.5Outa says very little in the play but he is crucial to the development of the plot (story\ Explain the importance of Outa s role in Boesman and Lena (4\

3.6Their situation is hopeless; their destiny is t o trudge endlessly from one barren and unforgiving place to another; outcasts, drunkards, the dregs of humanity through circumstance and fate. Gisele Turner

Q4— Section header —

4.1Explain the effect of the repetition of the word children in OURCE A. (2\

4.2Explain the theatrical significance of the sto ryteller s speech to the children. Lines 22\ (3\

4.3Discuss how Source A, the opening scene of the play, serve to create suitable atmosphere to prepare the audience for the particular style of the production.

4.4Describe how you would direct the chorus of children to perform The song of the Children of the Sun sung in darkness physically and vocally. Lines (6\

4.5ustify uNosilimela might be classified as an example of folklore drama. In your answer refer to SOURCE and the broader context of the play.

4.6Name the type of staging shown in SOURCE (1\

4.7List THREE challenges associated with staging this performance in the open ( outside

4.6, is suitable for a performance of uNosilimela In your answer refer to the use of costumes, props and the actor/audience relationship.

Q5— Section header —

5.1Discuss THREE characteristics of Grotowski s Poor Theatre

5.1Explain the function of the half squash ball painted pink led (1\

5.1The tea boxes (lab led B\ are part of the set. Name TWO other ways in which the tea boxes

5.1What is the purpose of the rail (label led C\

5.2Woza Albert! was originally a workshopped play which was eventually printed in a script form. If you were a director, what challenges would you likely encounter when

5.3How might the use of IsiZulu and Afrikaans phrases in line Aaay suka! line Ek kan dit doen!

5.5Identify and d iscuss the relevance of the themes in SOURCE for South African audiences today.

Q6— Section header —

6.1Why is the play, Sophiatown a valua ble part of our heritage? (4\

6.2Explain the role of the character of Jakes in the play, Sophiatown. (4\

6.3Discuss how Jakes opening monologue sets the scene (gives information\ for the rest of the play. Ar ts

6.4In what way is Pri ncess loud laughter (line 7 \ typical of her character

6.5Explain how Ruth expectation and response (line 6 and lines 12 \ create dramatic tension in the scene

6.6Imagine that you are playing the character of Mingus. How would you deliver lines 1 2 vocally and physically to highlight his arrogance? (4\

6.7Mandela wrote in his autobiography, Sophiatown di ed not to the sound of gunfire but to the sound of rum bling trucks and sledgehammers. John Edwin Mason Discuss how the theme of forced removals is revealed in the play

Q7— Section header —

7.1Discuss how Sipho s unnoticed entrance (line 1\ adds to the theatrical suspense and tension in this scene.

7.2Mpho is an offstage character.

7.2.1What is meant by the term offstage character

7.2.2What is the theatrical effect of including Mpho as a character in Nothing but the Truth?

7.3How does Mandisa s attitude in lines reveal (show her character?

7.4Consider Sipho s comment Well spoken, Mandisa! Like father, like daughter! (line 14

7.4.1How would the actress playing Mandisa react physically to Sipho words?

7.4.2Explain the phrase Like father, like daughter! (line 1 summarises a core theme of the play In your answer refer to

7.5Explain Kani s use of l anguage and dialogue in SOURCE and how it develops the realistic genre of th e play. (4\

7.6You have been selected to play the role of EITHER Mandisa OR Than do. Explain how you would use tanislavski s acting techniques in your preparation and performance of the role. (8\

Q8— Section header —

8.1State why Thami uses the word informal line 8\ (2\

8.2Describe the tone of voice and volume you would suggest the actors use in performing lines 10 and 11 to emphasise their contrasting ideas.

8.3Explain how you would go about performing the character of Thami physically and vocally in lines 2 5 as he responds to Johan s question in line 1. (6\ Ar ts

8.4Explain what Thami means in line 12 when he says: these policemen here are part of the business (2\

8.5And w re def initely not criminals (line 1 Assess how Johan s statement is ironic in the light of occurrences later in the play (4\

8.6Explain what the language and dialogue in this extract suggest about the relationship between Thami and Joha (4\

8.7Johan and Thami 's different viewpoints on illegal diamond buying in this scene leads to increasing tension in their relationship. Discuss how the emotional tension in the relationship between the characters is played out in

Q9— Section header —

9.1

9.2What is Tiemie referring to when she says s nog net twee weke oor ... (lines 10 (2\

9.3Explain how the dramatic tension is affected when Tjokkie is proved wrong later in the play when he says: Ek het nik s met die hele ding u it te waai nie (line 5\

9.5Discuss how PG du Plessis use of language and dialogue in OURCE create a realistic environment typical of

9.6This play is set in the 1970s in a white Afrikaans home. It has no relevance for South Africans today. Discuss the validity of the above statement with reference to the issues highlighted in OURCE A and the play as a

Q10— Section header —

10.1Name the TWO characters labelled A and B in SOURCE (2\

10.2Explain why the costume and props for character B are suitable.

10.3State to what extent the photograph above an accurate representation of the relationship between characters A and B. Ar ts

10.4Refer to Constable s words (lines 1

10.4.1Describe how you would direct t he actor playing Constable to perform these lines vocally and physically. (4\

10.4.2How does Meisie s response Constable s words in lines 1 prepare us for the future action in the play

10.4.3What do Gertie s words in line d line 1 tell the audience about her reaction to t he Constable s words (lines 1

10.4Discuss the significance of references to scent and smell (introdu ced in lines 1 \ in the play as a whole. (8\

10.5Suggest with reasons a suitab le vocal volume and vocal pace an actress

Q11— Section header —

11.1Explain to what extent the character Simon can be called a narrator. (2\

11.2As the only speaking role in the play Simon s vocal performance is crucial to the success of the play. Describe how you would use tone, pace and volume in lines 1 8 to build to the point of climax in this extract.

11.3The stage directions in line 9 say: He acts out the rape, using the broomstick and the loaf of bread.

11.3.1Why did the playwright cho se to use the symbols of a loaf of bread to represent the baby and the broomstick as the rapist? (3\

11.3.2Describe how you would get the actor portraying Simon to perform line 9 to maximise the horror of the rape for the audience (4\ [15] Ar ts 2115

Q12— Section header —

12.1SOURCE A PUSH Physical Theatre

12.1All the performers are carrying medical crutches (label led A\ and some of the performers are wearing surgical masks (label led B\. Explain how these crutches and masks ould affect the performers

Q13— Section header —

13.1LIVE PERFORMANCE (CHOICE QUESTION\ Neil Coppin's production of Abnormal Loads relies on complex lighting and stage effects to create a visu al feast for the eyes. This enhances (adds to\ the audience's enjoyment of the production.

13.2MEDIA STUDIES (CHOICE QUESTION\ The director of photography s (DOP\ job is to achieve the director understanding and vision of the script, including what messages he wants to convey (if any\, what the characters and the world they inhabit look like, think,

13.3CULTURAL PERFORMANCE AND RITUAL (CHOICE QUESTION\ The majority of children (part icularly in the urban areas\ are not taught early and well enough to appreciate cultural performances and rituals. From a perspective of either a participant or spectator

Topics Identified

ActingDirectingPlaywriting

Mark Allocation

Total150 marks

Sections30 + 30 + 30 + 30 + 30 + 30 + 30 + 30 + 30 + 30 + 15 + 30 + 15 + 15 + 15 = 390 marks

Key Information

Contact Number0024324446

Paper information

SubjectDramatic Arts

Year2013

SessionNovember

TypePast Paper

PaperPaper 1

LanguageEnglish

Pages24

Downloads6

Examination context

Decade2010s

Years ago13y

SeasonSpring (SH)

Start dayTuesday

Exam periodNovember 2013

Days since exam4,737

About Dramatic Arts examination preparation

This Grade 12 examination resource can be used as part of a structured revision programme. Past papers are most useful when learners attempt questions independently, work within a realistic time limit, and review their answers afterwards.

How to use this resource for revision

A past examination paper is most useful when it is treated as an active revision exercise. Try the questions yourself before checking the corresponding memorandum. Where you make an error, identify the reason — was it a knowledge gap, a calculation mistake, an interpretation issue, or an examination technique problem?

For stronger examination practice, complete the paper without unnecessary interruptions and keep track of the questions that take the most time. Afterwards, review the memorandum and separate knowledge gaps from mistakes caused by interpretation, calculation, structure, or examination technique.

understanding question requirements

applying subject knowledge

working under time constraints

checking answers

identifying revision priorities

A practical revision approach

Start by completing the resource without looking at the memorandum. Review incorrect and incomplete answers afterwards and make a short revision list based on the areas that caused difficulty.

Grade 12 subject hubs

Each matric subject has its own dedicated hub on Freemode with every past paper and marking memorandum we have archived for that subject.

➗ Mathematics View papers → 📊 Mathematical Literacy View papers → ⚗️ Physical Sciences View papers → 🧬 Life Sciences View papers → 📒 Accounting View papers → 💼 Business Studies View papers → 📈 Economics View papers → 🌍 Geography View papers → 🏛️ History View papers → 📖 English View papers → 🇿🇦 Afrikaans View papers → 🗣️ IsiNdebele View papers → 🗣️ IsiXhosa View papers → 🗣️ IsiZulu View papers → 🗣️ Sepedi View papers → 🗣️ Sesotho View papers → 🗣️ Setswana View papers → 🌾 Agricultural Sciences View papers →

File details

File size1.19 MB

Pages24

Archived on8 September 2026

File age47d

ContributorFreeMode

FingerprintC1CAB4017ABD

Questions and learner discussion

No questions or discussions have been posted yet.