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Q2โ Section header โ
2.2Identify ONE example of satire in the play. (2
2.3Explain how the example of satire identified in QUESTION
2.2may be seen as funny (4
2.4Justify the age res triction provided in the source (line (2\ 2.
2.7Suggest how Woza Albert! demonstrated innovation and creativity (line s 2 3\ in the making and performing of the play.
2.8Discuss how the truth about a partheid South Africa s portrayed in Woza Albert!
2.9Evaluate how theat re was used to protest against a partheid (line
Q3โ Section header โ
3.1Identify the stage type used in SOURCE D. (2\ 3. Describe life of a Sophiatown household
3.3Explain how the vibrant culture of the township (line 1 of
3.4Motivate wh the character of Ru th might be seen as extraordinary
3.5Analyse how the relationships between Ruth and the other characters change throughout the play. (4
3.6Write a character description of Mingus. Include information on: His costume The way he makes a living His behaviour towards other characters in the play
3.7Sugges how the mus ic, song and dance of the time add to
3.8Imagine y ou are the character of Jakes, writing an article with the title Sophiatown Lives Matter
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4.1Identify the style/ genre of the written play text (2\
4.2Explain how the style/ genre of the play is depicted in SOURCE F. (4\
4.3Name and describe the specific group of people and their lives (line 3\ (4\
4.4Justify whether or not the set is a suitable environment for the play. (4\ Dramatic Arts DBE/May/June 2024 SC/NSC Confidential
4.6Motivate why the play is a tense ride to tragedy (line 6\ by referring to the plot and action
4.7Write a character description of Tjokkie Include information on: His costume The way he makes a living His relationship with the other
4.8Tiemie s speech at the end of Act 1: Ek wou so graag van geweet wees ," sums up the essence of
5.3Analyse how the actor playing Mandisa might use the vocal skills of pace, inflection and volume to deliver her lines in SOURCE H (3
5.4Motivate your choice of blocking for the female actors in lines 4 6. (6\
5.5Explain to the actors why the scene in SOURCE H builds towards the climax of the play. (4\
5.6Justify whether the actions, gestures or body language of TWO actor in SOURCE I are appropriate for what ha ppens in the
5.7In such a play so much depends on the actors. This family drama requires great skill and sensitivity from the performers. Discuss how the actors might
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6.1Describe to the actors what is happening in the scene in SOURCE J. (4\
6.2Suggest how Johan s speech and actions might build the dramatic tension of the scene in SOURCE J. (4\
6.3Analyse how the actor playing Smith might use the vocal skills of pace, inflection and volume to deliver his lines in SOURCE J. (3 x 2\ (6\
6.4Motivate your choice of blocking for the characters in SOURCE J. (6\
6.5Explain to the actors why the scene in SOURCE J builds towards the climax of the play. (4\
6.6Justify whether the actions, gestures or body language of the TWO actor in SOURCE K are appropriate for what happens in the scene in SOURCE J.
6.7In such a play, so much depends on the actors. This drama requires great skill and sensitivity from the performers. Discuss how the actors might create sensitive performances by applying Stanislavski's System/Method in the preparation and performance
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7.1escribe to the actors what is ha ppening in the scene in SOURCE L (4
7.2Explain how dramatic tension i s built in the scene in SOURCE L (4\
7.3Analyse how the actor playing Meisie might use the vocal skills of pace, inflection and volum to deliver her lines in SOURCE L
7.4Motivate your choice of blocking for the character s in SOURCE L (6\
7.5Explain to the actors why the scene in SOURCE L is the climax of the play. (4\ .6 Justify whether the actions, gestures
7.7In such a play, so much depends on the actors. This family drama requires great skill and sensitivity from the performers. Discuss how the actors might create
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8.1Describe the se t, costumes and staging of EIT HER Realism in the Theatre OR Poor Th eatre. You may refer to SOURCE N in your answer. (10\ 8.
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9.1The role of the director (5\
9.2Diaphragmatic intercostal breathing (5\
9.3The importance of vocal and physical warm ups (5\
9.4The benefits of studying Dramatic Arts (5\ [20] TOTAL SECTION D: 40 GRAND TOTAL: 15020