EXAMINATION NATIONAL SENIOR CERTIFICATE

GRADE 12
DATE NOVEMBER 2023
SUBJECT DRAMATIC ARTS
PAPER THEORY
MARK TOTAL 150
DURATION (HOURS) 3
NUMBER OF PAGES 10
EXAMINATION
NSC NOVEMBER: DRAMATIC ARTS THEORY | 2023

INSTRUCTIONS AND INFORMATION

1. This paper consists of FOUR sections:

SECTION A (30 marks)

SECTION B (40 marks)
SECTION C (40 marks)
SECTION D (40 marks)

2. SECTION A: 20TH CENTURY THEATRE MOVEMENTS

This section consists of ONE question that focuses on CAPS Topic 3 and 4.
QUESTION 1: Theatre of the Absurd:
This question must be answered referring to the text Waiting for Godot (Samuel
Beckett).

3. SECTION B: SOUTH AFRICAN THEATRE 1960 - 1994

This section consists of ONE question that focuses on CAPS Topic 5 and 6 and the
play text My Children! My Africa! (Athol Fugard)
QUESTION 2: My Children! My Africa! (Athol Fugard)

4. SECTION C: CONTEMPORARY SOUTH AFRICAN THEATRE: POST-1994

This section consists of ONE question that focuses on CAPS Topic 6 & 7 and the play
text Green Man Flashing (Mike van Graan).
QUESTION 3: Green Man Flashing (Mike van Graan).

5. SECTION D: THE HISTORY OF THEATRE, PRACTICAL CONCEPTS, CONTENT

AND SKILLS.

This section consists of ONE question that focus on CAPS Topic 1, 2, 5, 6, 7 and 8.

6. Number the answers correctly according to the numbering system used in this
question paper.

7. Pay attention to the number of marks allocated to each question.

8. Examine the command verb of each question to better understand how to respond to
the question.

9. Start each question on a new page.

10. Use your classroom knowledge, as well as independent and creative thinking, to
answer the questions.

11. Write neatly and legibly - in BLUE ink ONLY.

© SACAI COPYRIGHT Page 2 of 10 Please turn over

NSC NOVEMBER: DRAMATIC ARTS THEORY | 2023

SECTION A: 20TH CENTURY THEATRE MOVEMENTS

This section consists of ONE question.

Answer this question referring to the text Waiting for Godot (Samuel Beckett)

QUESTION 1: THEATRE OF THE ABSURD

Evaluate the stimuli in SOURCE A and answer the question that follows.

SOURCE A

Source:https:///www.facebook.com/photo/?fbid=1971422893542294&set=pcb.197143469354176

Evaluate, in the form of a well-structured essay, how Waiting for Godot and The Theatre of the
Absurd explore themes of waiting and hope; and how these themes are relatable to an
audience, both at the time the play was written and today.
In your essay you must refer to the information contained in SOURCE A, the question, Samuel
Beckett’s play Waiting for Godot and the Theatre of the Absurd movement as a whole.

[30]

TOTAL SECTION A: 30

© SACAI COPYRIGHT Page 3 of 10 Please turn over

NSC NOVEMBER: DRAMATIC ARTS THEORY | 2023

SECTION B: SOUTH AFRICAN THEATRE 1960 – 1994

This section consists of ONE question which focuses on a play text from South African Theatre
pre-94.

QUESTION 2: MY CHILDREN! MY AFRICA! (ATHOL FUGARD)

Study the sources on the play My Children! My Africa! and answer the questions that follow.

SOURCE B is a photograph from a production of My Children! My Africa!, presented by the

Theatre Arts Admin Collective, and performed at the Observatory Methodist Church Hall, in
Cape Town in 2017.

SOURCE B

Source: https://www.iol.co.za/capetimes/arts-portal/witness-directors-of-the-future-2031185

2.1 Name the high school where the above scene takes place. (1)

2.2 Account for the tense body language of each of the three characters in the scene
in SOURCE B. (3)

2.3 Explain how the relationship between the two learners photographed in
SOURCE B develops through the course of the play. (4)

2.4 Suggest an exercise that can improve the ensemble play between the actors
portraying the two students. (4)

2.5 Outline the sociopolitical background of My Children! My Africa! (4)

2.6 Protest Theatre was a dominant performance style in South Africa before 1994.

2.6.1 Explain why this style of theatre was suited to the sociopolitical context
of the country before 1994. (2)

© SACAI COPYRIGHT Page 4 of 10 Please turn over

NSC NOVEMBER: DRAMATIC ARTS THEORY | 2023

2.6.2 List any four characteristics of Protest Theatre. (4)

2.6.3 Explain why My Children! My Africa! is defined as a protest play. (3)

2.6.4 Assess the impact of influential theatre practitioners such as Grotowski,

Brecht and Stanislavski in the play My Children! My Africa! (9)

2.7 SOURCE C
Privileged people don't march and protest; their world is safe and
clean and governed by laws designed to keep them happy.
- John Grisham
Source: https://www.goodreads.com/quotes/501236-privileged-people-don-t-march-and-protest-their-
world-is-safe

Write a paragraph in which you discuss the statement in SOURCE C in relation to

the character Isabel. In your answer you should consider whether people who
experience privilege can participate in changing systems of inequality, and if so,
how it could be done. (6)

[40]

TOTAL SECTION B: 40

© SACAI COPYRIGHT Page 5 of 10 Please turn over

NSC NOVEMBER: DRAMATIC ARTS THEORY | 2023

SECTION C: CONTEMPORARY SOUTH AFRICAN THEATRE: POST-1994

This section consists of ONE question which focuses on a play text from South African
Theatre post-94.

QUESTION 3: GREEN MAN FLASHING (MIKE VAN GRAAN)

3.1 Define any TWO of the theatre styles below that were created in (2x2) (4)
South Africa after 1994:
❖ Theatre for Reconciliation
❖ Theatre for Identity
❖ Theatre for Social Commentary
❖ Community Theatre

3.2 Green Man Flashing is classified as Theatre for Political Commentary. Do you
agree with this statement? Support your answer with examples from the script. (4)

3.3 Green Man Flashing is presented in the Postmodernism style.

3.3.1 Identify any TWO Postmodern staging techniques used in Green Man
Flashing. (2)

3.3.2 Describe how the staging of Green Man Flashing uses the
techniques that you mentioned in (2x2) (4)

3.4 SOURCE D and SOURCE E are photographs from a production of Green

Man Flashing presented at the National Arts Festival in 2004. Study the
sources and answer the questions that follow.

SOURCE D SOURCE E

Source: https://mikevangraan.co.za/plays/green-man-flashing

© SACAI COPYRIGHT Page 6 of 10 Please turn over

NSC NOVEMBER: DRAMATIC ARTS THEORY | 2023

3.4.1 Place the scene depicted in SOURCE D in context. (3)

3.4.2 Choose ONE character from SOURCE D and write director’s notes for the
actor playing that character. Your notes should explain the following to the
actor:
❖ The philosophy of Stanislavski’s System.
❖ How can three Stanislavski techniques be used to depict your
chosen character in the style of Realism? (15)

3.5 Imagine that you are the lighting designer for a production of Green Man
Flashing.

Design the lighting for the two scenes depicted in SOURCE D and SOURCE E.
Your design must creatively show the change in location and time as the play
progresses from the scene in SOURCE D to the scene in SOURCE E.

Remember that your design choices must align with the style of Postmodernism. (8)

[40]

TOTAL SECTION C: 40

© SACAI COPYRIGHT Page 7 of 10 Please turn over

NSC NOVEMBER: DRAMATIC ARTS THEORY | 2023

SECTION D: THE HISTORY OF THEATRE, PRACTICAL CONCEPTS,

CONTENT AND SKILLS
QUESTION 4

SOURCE F is a collection of photographs from the production, The Old Man and the Sea,
presented by Contagious Theatre, at The Fugard Theatre, in 2019.

Study SOURCE F and answer the questions that follow.

SOURCE F

Brought to The Fugard by

Contagious Theatre, the production
makes use of masks, physical
theatre and very fitting sound
design to bring this old story to life.
The production is adapted by Nick
Warren with Jenine Collocott and
stars James Cairns, Taryn Bennett
and Jaques De Silva. It features an
original soundtrack by Sue Grealy
and is designed and directed by
Jenine Collocott.

Source: https://www.bizcommunity.com/Article/196/477/193985.html

This production of The Old Man and the Sea is performed in multiple styles. The main style of
performance is Physical Theatre.

4.1 Define Physical Theatre as a style of theatre. (2)

4.2 Identify TWO physical performance skills required of the actors performing in a
production of this nature. (2)

4.3 Discuss the effectiveness of the masks within this theatre style. (3)

© SACAI COPYRIGHT Page 8 of 10 Please turn over

NSC NOVEMBER: DRAMATIC ARTS THEORY | 2023

4.4 Suggest a theatre practitioner whose teachings you think would be helpful to the
actors and production team working on The Old Man and the Sea. Justify your
answer with a brief explanation of the teachings of your chosen theatre
practitioner. (7)

4.5 List TWO different theatre production careers referenced in SOURCE F (You
may not list acting / performance as an answer). (2)

4.6 Reflect on your experience as a Dramatic Arts student, studying theatre during
the last three years. If you could pursue any career in theatre, what would it be
and why? (2)

SOURCE G is a photograph from the production Kunene and the King, performed at The Joburg
Theatre in 2022. Study the photograph and answer the questions that follow.

SOURCE G

Source: https://www.news24.com/life/arts-and-entertainment/arts/john-kanis-kunene-and-the-king-transfers-
to-south-african-state-theatre-20230404

This production of Kunene and the King is performed within the style of Realism.

4.7 Define Realism as a style of theatre. (2)

4.8 Contrast the two styles of theatre – Physical Theatre photographed in SOURCE
F and Realism photographed in SOURCE G. Your answer should refer to key
staging principles. Present your answer in the form of a table. (8)

4.9 Describe how a physical warm up for the actors photographed in SOURCE F
would differ to that of the actors photographed in SOURCE G. (4)

© SACAI COPYRIGHT Page 9 of 10 Please turn over

NSC NOVEMBER: DRAMATIC ARTS THEORY | 2023

4.10 The Fugard Theatre, was a leading theatre house in Cape Town’s District Six.
Regrettably, the theatre closed permanently in March 2021 when its already difficult
financial situation was crippled by the Covid-19 pandemic and the hard lockdown
restrictions imposed on live theatre at the time.

Discuss the importance of theatre spaces, like The Fugard, for both artists and the
general public; and how people can advocate for live theatre through difficult times
such as a pandemic. (8)

[40]

TOTAL SECTION D: 40

GRAND TOTAL: 150

© SACAI COPYRIGHT Page 10 of 10 End of document