Dramatic Arts Memo 1 (English)

Feb-March 2013 โ€” Grade 12 / Matric โ€” Dramatic Arts

Memo 2013 Grade 12 English
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3.1.1Lena has had enough of Boesman and their life on the move. She has finally decided to stand up against him because she now feels that she has something that she can use against him. She threatens him for causing the death of Outa an
3.1.2No it is not typical of her character. She always follows Boesman because she has no other choice and there was nowhere that she could go to. So out of force o f habit she would follow him because if she didn
3.2Lena s journey with Boesman has been a long and painful one. In the beginning there were happy times when they really loved each other and shared good times but it changed when the pressures of life began to take its
3.2LEVEL DESCRIPT Excellent Excellent discussion of Lena s physical and emotional journey. The candidate discusses Lena s experiences in a comprehensive manner. He/she demonstrates a clear and comprehensive understanding of Lena
3.3A yes answer is more suitable. However accept no if well substantiated. It is an accurate description of Boesman because he uses violence to ex press his anger and frustration. often beats Lena for no apparent reason and in
3.4These words would not have shocked the audience because it was during the days of apartheid and such terms were acceptable . Although it was hurtful and derogatory there was not much that black people could do about it. There
3.5Markers are to use discretion when marking. Award four marks for explaining the use of physical resources and two marks for using the face
3.6Lena is now the ag gressor. She taunt Boesman. She states boldly that she will not be following him as she had done the previous times. She is stamping down her authority and stating that she is her own person once more. Unlike
4.1Credo Mutwa is preparing the ground for the character of uNosilimela. He is creating suspense in the audi ence and setting the stage for her entrance. As she is the main character in the play, he gives her more importance by
4.2It creates and heightens the dramatic tension. It builds up suspense in the audience who wait in anticipation for her entrance. The playwright sets the mood and atmosphere in preparation for taking centre stage later on.
4.3In African terms it is culturally taboo to show your back to the King, Queen Mother, Queen, palace and/or anything they are associated with, for the royals are considered sacred. It is considered uncouth and disrespectful to do so.
4.4By making a dramatic entrance later the storyteller immediately attracts the attention of the audience. Once he has their attent ion, he can now instruct them to sit down. By asking them twice if they are hearing him and waiting for
4.5.1Any reasonable and relevant answer should be accepted, with the following as examples: Dance communicates certain non oral information/data/ instruction through movement Songs
4.5.2Any reasonable or relevant answer should be accepted, with the following as examples: His entrance would signal the b eginning of the performance. The storyteller takes charge, thus exerting himself as the main
4.7Isilimela (IsiZulu\/Silimela (SiSwati\ [Constellation] is a group of stars that shines brightly, but only much later as the n ight progresses. uNosilimela has been named after these stars. African people regard stars as sacred and the
4.8Accept candidates responses if valid and substantiated. (Awar d 2 marks each\ Space The actor would have all of the perform ance space to move in, since there are no clear distinctions between actor and audience. He can move
5.1Accept responses that are well substantiated. The following are example The play raised important issues such as the pass laws, discrimination and injustice suffered by black people at the time. Humour was used to h
5.3.1The term political satire indicates that through humour society is mocked and that evils are prevalent in society
5.3.2Award 3 marks for each character mentioned and the accompanying explanation (Accept other well motivated responses Aunty Dudu looks for food in the bins. She wants Morena to allow the white people to have more parties
5.4Mime or acting without words. (2\ 14
5.5Examples include, but are not limited to the following; The scene of threading the needle. In this scene mime is used and is followed by dialogue. Both devices depict the deplorable socio economic conditions.
5.6There are twenty six scenes in the play and only two actors. Elaborate costumes would hinder the flow from one scene to another. It would be too costl y to have costumes for all the characters Costume changes would impact on the flow of the play.
6.1Mingus belongs to the Americans, a gang operating in Sophiatown which steals goods from the railways. He stores some of the stolen goods in his mother's (Mamariti's\ house. Furthermore Mamariti sel ls illegal liquor. Ruth, a
6.2Mamariti is the owner of the shebeen and the boarding house and she stamps down her authority from the beginning. She uses Lulu as the middle man to negotiate the amount of money for the rent. She also sees this as an
6.3Mingus is inspecting Ruth as if she were a piece of furniture or meat. He ieves that he has the right to decide who should stay and who should go. He likes what he sees in Ruth and he feels that she could
6.3LEVEL DESCRIPTOR Excellent Excellent discussion of Mingus s character an d his treatment of Ruth as well as women in general. He/she demonstrates a clear and comprehensive understanding of Mingus s abusive treatment of
6.4The following is a guideline. Accept other terminology used as long as the main aspects of the creation of workshop theatre are contained in the answer. (Candidates must only be awarded full marks if th
6.4DESCRIPTOR Very good Candidate is able to answer clear ly and directly referring to the processes involved in creating the play. Is also able to explain clearly how the Junction Avenue Theatre Company went about creating the
6.5Markers are to mark holistically. Award FOUR marks for the description of life in Sophiatown and FOUR marks for the character of Mingus. Crime and violence were a significant reality of urban life and culture. The
7.1Sipho does admit that Themba was part of the Struggle but he beli ves that Themba had his own agenda. In other words Themba did not join purely because he was fighting for the liberat ion of the people. He had other motives
7.2Accept any TWO issues of conflict mentioned that are well substantiated. The following answer is merely a suggestion of the responses candidates may give. Sipho's main issue of conflict was that Themba was the favoured son,
7.3.1a dutiful daughter she has always followed the traditions and cultures of her family and obeyed her father. She has not challenged his authority and never questioned him about any of the decisions he has made. In the above extract she seems bolder and
7.3.2Markers are to use their discretion when marking this question. Some candidates may just list Stanislavski's system without linking to the character of Thando. In this case award only 4 marks. Candidate does not have to discuss all ten points to be awarded
7.3.2LEVEL DESCRIPTOR Very good Candidate is able to clearly discuss Stanislavski s techniques and is able to link these to the character
7.4Costumes add to the illusion of reality and reflect the social and economic status of the characters, as well as their personalities and professions. Sipho could wear a conservative, smart well worn suit. A hat, shoes that are
8.1(Accept any other reasonable and relevant answer that is motivated.\ The actor c ould: Adjust the volume of his speech. He could project more when he says the lines of the poem so that the audience would know this is
9.1Hierdie deel van Tjokkie se visioen sinspeel op die moontlike swangerskap van Tiemie. In die eerste toneel vertel Tiemie aan Tjokkie dat sy moontlik swanger is met Jakes se kind. Wanneer Tjokkie praat van die jong man wat
9.2Dit is belangrik dat die akteur se stemvertolking in die herhaling van hierdie woorde in spanning skep. reigende atmos feer wat groei moet oorgedra word. In r
9.3Ja. Dit is onseker of Tjokkie wel alles gesien het wat hy meedeel, en of hy soos wat voorgestel het \ dele daarvan bygelieg het om Tiemie teen Jakes te beskerm. Dit maak die eerste deel van die visioen (waar die mans in die
9.4Tjokkie se gawe om te sien is die katalisator van die gebeure ant almal se hoop op moontli ke uitkoms is op hom gevestig. Hy beskou dit as
9.4BESKR YWER Uitstekend Antwoord is gefokus en goed gestruktureerd. Kandidaat is in staat om duidelik te antwoord en verwys direk na die verskillende wyses waarop Tjokkie sy gawe ervaar asook ander karakters se
10.1.1Miem wanted to know what was the cause of Constable's indness. She asked
10.1As a young boy, Constable went to look for his parents. He saw that they were each holding shards of smoked glass front of their faces . He went to the kitchen and Tant Hannie gave him a piece of smoked glass so that he
10.2.3LEVEL DESCRIPTOR Very good Candidate is able to answer clearly and directly referring to how he narration of the solar eclipse takes on symbolic meaning in the play. He/she discusses the relationship between the sun
10.2Accept any FOUR of the following meanings: Mis as fertilizer Mis c an also mean mistiness/fogginess The expression Jy het dit mis (you are mistaken\.
10.2Accept other appropriate examples from the play text. Any TWO of the following meanings can be discussed: Mis as fertilizer is is the most conspicuous meaning . Meisie and Miem make a living by sellin
10.2.2LEVEL DESCRIPTOR Very The candi date demonstrates an excellent understanding of how the meanings of the title are applied in the text. The answer is clear and direct. Reference is made to examples from the text.
10.3The bags of manure : The bags of manure link to the cloistral , narrow minded and isolated life that Meisie has a nd wants to escape from. She does not live like a normal young girl because there are no boys visiting her. And when a
11.1A subjective answer is required so accept candidate s response if well substantiate Candidate may give ONE point that is well substantiated or they may list THREE points briefly. The following is merely a suggested answer.
11.2ccept any vocal skills andidate may choose any of the vocal attributes such as pitch, pace, pause, tone, inflection, emphasis to say how he/she would create vocal variety. (4\
11.3Award TWO marks for facial expression and TWO marks for gesture and TWO marks for movement if well substantiated. Candidate only needs to give any TWO. Accept relevant facial expressions and gestures that candidates suggest
11.4Award TWO marks for exercise and TWO marks for reasoning. Accept any relevant vocal warm exercise. Vocal warm ups prepare the voice for speaking so that there ca n be vocal clarity, a udibility and sustained delivery of lines.
12.1Accept either comic or serious if well substantiated. Comic The facial expressions of the performers are animated and exaggerated reflecting a sense of fun. The costumes are too elaborate for physical theatre especially the ladies hat and sleeves.
12.2Accept other well motivated responses The size and shape of the prop would definitely impact on the way the actors move. The use of space is restricted because of t he huge prop used. The male and female performer on the left have no space to move at all because
12.3Accept either enhance or hinder or bot Enhance Costumes enhance performances because the audience understands the characters and the roles that they are portraying more clearly. It reflects the characters class, status in society and style of the play
12.4Accept any THREE physical or acting skills. If candidate only lists the skill without describi ng, award only I mark each 3 marks maximum for listing. For example, physical skills such as flexibility, strength, agility, energetic,
12.5Acce pt candidates' creative responses. Full marks to be awarded only if candidates have specified the prop and how they have incorporated the prop into their movement piece. (4\ 30
12.6MARKS LEVEL DESCRIPTOR Very g Candidate is able to clearly discuss their own growth and development in terms of the lessons and techniques learnt. Connects with the question and is able to write a fluent and
13.1IVE PERFORMANCE CHOICE QUESTION MARKS
13.1LEVEL DESCRIPTOR Excellent Candidate clearly understands the quotation and can relate the plays, own experience and skills gained to the quotation. Candidate is able to construct an argument supporting the
13.2MEDIA STUDIE CHOICE QUESTION MARKS
13.2LEVEL DESCRIPTOR Excellent Candidate clearly understands the quotation and can relate to all aspects of the question. Candidate is able to construct an argument supporting the validity of the quotation and uses
13.3ULTUR FORMANCE AND RITUAL CHOICE QUESTION MARKS
13.3LEVEL DESCRIPTOR Excellent Candidate clearly understands the quotation and can relate it to an Indigenous ceremony or play or ritual or own experience he/she has seen or studied or experienced . Ca

Topics Identified

3
ActingDirectingPlaywriting

Mark Allocation

Sections30 + 30 + 30 + 30 + 30 + 30 + 30 + 30 + 30 + 15 + 30 + 15 + 15 + 15 = 360 marks

Paper information

SubjectDramatic Arts
Year2013
SessionFeb-March
TypeMemo
PaperPaper 1
LanguageEnglish
Pages32
Downloads4

Examination context

Decade2010s
Years ago13y
Seasonโ€”
Start dayโ€”
Exam periodโ€”
Days since examโ€”

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Dramatic Arts Paper 1 (English) โ†’

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