Directorate: Curriculum FET

TERM 1 and 2
TUTORING PROGRAMME

GRADE 12

SUBJECT: DRAMATIC ARTS

LEARNER BOOKLET 2020
1
 ADMINISTER A PRE- TEST

Your teacher will do a quick assessment with you. It is not for marks, it is to see which
content sections must be focused on.

REVISION

This booklet intends to provide a METHOD of doing excellent revision.

See below all the TOOLS given to you to learn about a successful METHOD of REVISION.
Do the tasks, BEFORE you start revision. You will then be ready to start revision.

1. First Tool: Blooms Taxonomy

There is a tool that you can use to see what level of knowledge you are at in your
revision. This tool is called Bloom’s Taxonomy. The word Taxonomy means something like
a ‘ruler’ to measure your knowledge.

As seen in the taxonomy, below, there are six different levels, ranging from remembering
to creating, of thinking, about the content you learn from your textbook, your workbook,
and the video.

Different questions require different levels of thinking. You will know which level is
required by the VERB (action word) used in the question.

Figure 1. Blooms Taxonomy: Meaning of levels and Question paper VERBS associated
with each level.

The headings of each level description are the words: Remember, Understand, Apply, Analyze,
Evaluate and Create. Next to these headings are ‘action verbs’ you will find in your question
paper. These will tell you which level of action you must show in your answer. Get to know these
action verbs and what level they specify.

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For example:
• ‘Remember’: ‘List” as an action verb in a question says you must simply make a list from
your memory of what you have learned.
• ‘Understand’: ‘Describe’ as an action verb says you must remember and understand the
content so that you can explain it in writing.

Higher mark Questions, (develop, formulate, argue defend, etc.…) such as those requiring essay
or paragraph type answers, can be marked according to many or even all levels, as follows:

1. Remembering:
Lowest level. You learn and remember all the content. For example, let’s take the
components of fitness and the exercises associated with it. If you can only remember
what they are. you will get between 0 % and 30% in the Question Paper.
2. Understand:
If you can also show you understand what fitness is and how the exercises are the way to
achieving it, you will get between 50% and 60%
3. Apply:
If you can use your understanding to make a point about fitness you will get between
60% and 70%. For example, you can discuss why fitness is important to the dancer.
4. Analyse:
If you can then see and show how the content was developed.
For example, show (say) how the components of fitness were developed and why
certain exercises are recommended to achieve them. This is called analysing. Analysis
will earn you between 70% and 80%.
5. Evaluate:
If you can look at the components you have analysed and comment on them from your
own point of view, it is called evaluating. For example, do you agree, partly agree or
disagree with the exercises provided for the development of strength, stamina, flexibility,
etc. You must be able to say why you agree or disagree. For evaluating you will get
between 80% and 90%
6. Create:
Creating means you must give a new point of view, a new way of thinking about the
components. For example, once you have evaluated the components of fitness and the
exercises, you now suggest a new way or additional ways of seeing fitness and can
describe different exercises to go with it. Depending on the quality of your creativity, you
will earn between 80% and 100%

It is clear, from the above, that it is so important to be able to ‘know’ and ‘think about’ the
content on ALL six levels for every Topic in the Curriculum. To become familiar with the levels.
7. Draw the Bloom’s picture above in your workbook.
8. Write down the names of the levels.
9. Now, write down what you must DO to get higher marks every time you want to
climb a level.
10. When you study the content of your text you should try to apply all SIX levels:
• Remember the content,
• Understand what you remember,
• Apply what you understand and remember,
• Analyse what you remember, and ensure you understand it and can say (apply)
what you understand.
• Evaluate what you analyse, apply, understand and remember. Is it serving its
purpose successfully?
• Create from what you remember, understand, apply, analyse, evaluate. Create
a new way of thinking, a new answer, a new insight, a new opinion.

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2. Second Tool The Checklist

1. Later in this booklet, you will be helped to use a REVISION CHECKLIST. You can use this
checklist to
2. You can use this checklist to:
● Plan revision (identify specific days when you will be doing revision for Dramatic Arts, the
start of the specific hour on those days you need to start and for how many hours you
must do revision on that day)
● Revision extends over a long period. It is better to do small bits of work every day rather
than to study for a block of days without breaks
● Use the textbook successfully
● Use your workbook successfully
● Mark off the content you have already revised to ensure that you have covered all the
work you need to learn and revise
● Help you feel confident once you have completed a section

3. Third Tool The Textbook

1. Your Textbook contains all the content you must remember, understand, apply, analyse,
evaluate and create. You will work through your textbook topic by topic.

4. Fourth Tool The Videos

1. If you have access to the videos of Term 1 and 2’s Topics and the Textbook content ensure
that you watch them at the same time as you are doing revision.
2. Do not watch all the videos at the same time.
3. Match the video titles with the specific section of content in the checklist you are busy
revising.

5. Fifth Tool The Workbook

1. Your teacher would have asked you to write / work in your workbook when you were taught
the topics.

6. Sixth Tool The Summary

1. To make sure you have a quick and easy way of going over the main Topics and content
you must make a summary of what you learn
2. The best way is to make a summary after each Topic. Further on in this booklet you will see
ways of doing a summary.
3. Read that section to find out how you should do your own summary

RECAP REVISION: THE SIX TOOLS

Sections 1 to 6, above, show the SKILLS, TOOLS and METHOD of REVISION.

A quick recap:
You know you must:
1. Know Blooms and its six levels
2. Use the checklist to plan your revision
3. Use the textbook to find the content you must revise
4. Use the videos correctly to ensure revision is done well
5. Use the workbook to see what the teacher has taught you about the Topics and about
the textbook content.
6. Make a summary after each topic.

4
 HOW TO USE THE REVISION CHECKLIST

1. Go to the checklist below on pages 10, 11 and 12

2. This is the planning tool you will use to decide on which day, at what time and until what time
you will revise which content as listed on the checklist
3. The first column lists the headings of the main content, (skills, techniques and concepts) of Terms
1 and 2 you must revise
4. The second column is for you to write the textbook pages in that cover this content next to the
corresponding content heading in the checklist
5. The third column is for the workbook pages to be filled in next to the corresponding content
listed on the checklist
6. The fourth column is to write down the video title next to the corresponding checklist content
heading
7. The fifth column is to write in the date, day, starting and finishing time. You must take a calendar
to count how many days you have for revision. Plan a revision programmer. Identify the days,
starting time and finishing time for each content listing on the checklist. Write your day and
time down in this column cross reference with the content heading in the first column
8. The sixth column is to tick off the content as you have completed your revision of the textbook,
learners workbook and or the videos

HOW TO USE THE TEXTBOOK

1. On your checklist, select the headings you will revise

2. In your textbook find the content and the page numbers for each heading you selected on
the checklist
3. On the checklist find the column that says ‘Textbook’
4. Cross reference the content headings with the identified textbook headings and pages
5. In the checklist column write the textbook pages down to their relevant headings
6. This way, if you want to go back to revise again, you will find the right place on your checklist
and your textbook quickly
7. Take your textbook and on the checklist below, next to each content heading in the
checklist, fill in the matching chapter and pages of the textbook

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 HOW TO USE THE VIDEOS

1. Not all the content headings in the first column of the checklist has videos to support the
revision of the textbook content
2. Read through the content headings on the checklist and cross reference the video headings
with it
3. Just write down the number of the video in the checklist column next to the corresponding
content heading

REALISM IN THE THEATRE

1. An introduction to Realism in Theatre
2. England and Europe of the 19th Century
3. Theatre of the 19th century prior to Realist Dramas
4. Philosophies & Artistic movements that aided the emergence of Realism in the Theatre
5. Theatrical advancements that influenced & characterised Realist Theatre
6. Realist playwrights and their works in focus
7. Konstantin Stanislavski and the Moscow Arts Company
8. Realist Plays of the 20th and 21st Centuries in focus

http://digitalresourcescentre.weebly.com/yr-9-drama.html https://stf-theatre.org.uk/living-quarters-2015/ https://simonparrismaninchair.com/2018/10/03/melbourne-theatre-company-the- https://www.austinchronicle.com/arts/2017-01-13/hir/

architect-review/

THEATRE OF THE ABSURD

1. Socio-political context that gave rise to Theatre of the Absurd
2. The philosophical underpinnings of the Theatre of the Absurd
3. Understanding existentialism: A defining philosophy
4. The Absurdist playwrights and their works
5. Defining characteristics of Absurdist Drama
6. Waiting for Godot: An in-depth analysis
7. Modern Absurd concepts in South Africa

https://topicosliteraturai.wordpress.com/2017/09/17/assignment-7-2/ https://siouxcityjournal.com/entertainment/arts-and-theatre/endgame-examines-absurdity- https://www.theskinny.co.uk/theatre/opinion/theatre-of-the-absurd https://www.slideshare.net/EllenAhlness/theatre-of-the-absurd-75793755

of-end-of-life/article_ac074417-f815-57d3-a7f3-6eb0ca73aeb8.html

SOUTH AFRICAN THEATRE WITH AN AGENDA

1. Introduction and protest theatre
2. Black Consciousness theatre and Theatre for resistance
3. Worker’s theatre and community theatre
4. Satirical Revue / Satire and Theatre for Reconciliation
5. Theatre for conservation / Environmental Theatre (Eco-theatre) and Educational Theatre

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https://www.artlink.co.za/news_article.htm?contentID= http://vital.seals.ac.za:8080/vital/access/manager/Reposi http://artsvark.co.za/woza-albert-returns-to-joburg-
https://www.tes.com/teaching-resource/woza-albert-south-
30423 tory/vital:2156?site_name=GlobalView theatre/ africa-protest-theatre-11477178

SOUTH AFRICAN THEATRE (Pre 1994)

1. Pre-colonial and Colonial Era up to the 1800’s
2. 1800 - 1945
3. 1945 - 1960
4. 1960’s
5. 1970’s
6. The Space Theatre
7. The late 1970’s and early 1980’s
8. The 1980’s
9. 1990 onwards

https://joburg.co.za/sophiatown-musical-joburg-theatre/ https://markettheatre.co.za/envira/when-swallows-cry-gallery-2- https://www.facebook.com/HaalAsemToneelstuk/ http://goliathwdavidsdrama.blogspot.com/2013/03/siener-in-die-

3/starring-arthur-zitha-and-christine-van-hees-image-taken-by-mpho- suburbs-by-pg-du-plessis.html
khwezi/

SOUTH AFRICAN CONTEMPORARY THEATRE (POST-1994)

1. The transition Years
2. The Mandela Era
3. The Mbeki Era
4. The Motlanthe Era
5. The Zuma Era

https://www.moviepostershop.com/nothing-but-the-truth- https://www.dailymaverick.co.za/article/2010-09-12-nothing- https://www.britishtheatreguide.info/reviews/nothingbutDC- https://www.gettyimages.com/detail/news-photo/dress-

broadway-movie-poster-9999 but-the-truth-still-hits-the-right-buttons/ rev.htm rehearsal-for-play-called-nothing-but-the-truth-news-
photo/539549493

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http://www.southfloridatheatrescene.com/2010/06/mosaic-theatre- http://www.southfloridatheatrescene.com/2010/06/mosaic-theatre- https://www.nytimes.com/2009/05/19/theater/reviews/19grou.html https://www.theatermania.com/new-york-city-
groundswell-reviews.html groundswell-reviews.html theater/reviews/groundswell_19147.html

http://mdukweyama.com/portfolio_page/rene-de-wets-missing/ https://www.facebook.com/pg/andrestolzproductions/posts/ https://www.iol.co.za/capetimes/arts-portal/stage/mis-review- https://www.facebook.com/pg/andrestolzproductions/photos/

intensely-unsettling-1933130

THE LEARNER WORKBOOK

1. Use your workbook as part of revision and number the pages in your workbook
2. Find the headings or topics you have worked on in your workbook
3. Match with the headings in the checklist
4. Write the workbook page next to the textbook page
5. Now you have ALL your sources of content together and sorted. You will be able to
pinpoint where in the textbook the content Is, where you worked on it in your workbook
and where the video might be relevant

REVISE THE CONTENT UNDER EACH HEADING IN THE CHECKLIST

1. You now have a PLAN FOR REVISION in the form of the checklist you have filled in with
the following information: Days and hours allocated to specific content headings on the
checklist and the textbook, learner workbook and videos references
2. Remember to always use Blooms Taxonomy to see what you must do to develop your
knowledge to get better marks.
3. You are ready to start revision

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 CONTENT TEXT WORKBOOK VIDEO TITLE DATE, DAY, TIME REVISED
BOOK PAGE & DONE
PAGE TICK
REALISM IN THE THEATRE AND STANISLAVSKI

Content/concepts/skills
Understand the rise of Realism, its conventions and impact on drama
Understand Stanislavski’s unique contribution to theatre
Apply the Stanislavski system to practical work

Theory
• Definition of realism
• Background and context: social, political, religious, economic, artistic,
historical, theatrical as relevant to the emergence of Realism
• The well-made play
• Themes, characters and issues
• Staging conventions: box set, the rise of the Director
• Playwrights of the period, as well as more recent Realist playwrights
• Stanislavski as practitioner
• Stanislavski’s acting techniques such as magic if, concentration, given
circumstances, units and objectives, emotion memory, tempo-rhythm,
relaxation
• Stanislavski’s external characterisation techniques such as posture, age,
physical presence, clothing/props
• Demonstrate an understanding of Stanislavski’s techniques
• Analyse and interpret the character based on an understanding of the
entire Play Text
• Apply Stanislavski`s acting techniques to a performance

POOR THEATRE AND GROTOWSKI

Content/concepts/skills
Understand the concept of Poor Theatre
Apply techniques of Poor Theatre to development of a group piece
Understand the role of Grotowski as a theatre innovator
Understand the relevance of techniques for Poor Theatre within the South
African context

Theory
• Background and context: social, political, religious, economic, artistic,
historical, theatrical
• Characteristics of Poor Theatre
• Performance style and conventions
• Design elements, the visual and aural world of the performance, including
setting, costume, music, sound effects
• Theatre practitioners: Grotowski and selected South African practitioners

SOUTH AFRICAN THEATRE: WORKSHOP THEATRE

Content/concepts/skills
Understand the hybrid nature of South African theatre
Analyse the specific functions that theatre serves in society
Perform a workshopped scene, based on an issue of concern

Theory
• An overview of South African theatre up to 1994, including:
• The diverse traditions, identities and heritages in the development of
indigenous and imported theatre styles
• South African Theatre spaces (traditional, Western, township, state-
controlled, festivals) and how these contributed to the kind of work
produced

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• Workshopping as a process of theatre making that suited specific South
African conditions (revise from Grade 10)
• South African theatre with a specific agenda:
• Protest Theatre/Theatre of Resistance
• Community Theatre
• Workers’ Theatre
• Educational Theatre
• Theatre for Conservation
• Theatre for Reconciliation
• Satirical revue

20TH CENTURY ‘ISMS’

Understand the background and context of Modern drama.

Evaluate how social, historical, political and economic contexts, and
events such as world wars, inform theatre

Theory
• Review basic elements and principles of realism for purposes of
comparison with the anti-realism movements
• Study any THREE of the following movements, as relevant to the
Dramatic Theatre Movements to be studied in Topics 3/4:
• Symbolism
• Expressionism (if not done in Grade 11)
• Futurism and Constructivism
• Dadaism
• Surrealism
• Existentialism
• Practitioners associated with the above Dramatic Theatre Movements
• Examples of new thinking in the theatre – Craig and Appia as
designers

THEATRE OF THE ABSURD OR EPIC THEATRE OR

POSTMODERN THEATRE

Understand Theatre of the Absurd as anti-realism OR Epic Theatre OR

Postmodern Theatre
Analyse the conventions of this Dramatic Theatre Movements
Demonstrate knowledge of Playwrights associated with this Dramatic Theatre
Movements

Theory
• Background and context: social, political, religious, economic,
artistic, historical, theatrical as relevant to Theatre of the Absurd
OR Epic Theatre OR Postmodern Theatre
• Common aims of playwrights
• Characteristics: structure and form, language, characters, themes
• Stylistic elements such as: design, setting, costume, lighting, use
of language, characterisation
• Staging: Performance space, acting style and movement
• Role of the Director/Designer in the interpretation of Theatre of the
Absurd OR Epic Theatre OR Postmodern Theatre
• Difference between Realism and Absurdism OR Epic Theatre OR
Postmodern Theatre
• The influence of Absurdism OR Epic Theatre OR Postmodern
Theatre

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PRESCRIBED PLAY TEXT 1. 20TH CENTURY THEATRE MOVEMENTS:
ABSURD OR EPIC OR POSTMODERN THEATRE

Analyse and evaluate the Play Text in relation to the relevant Dramatic
Movement
Theory
• Background and context: socio, political, religious, economic, artistic,
historical, theatrical, as relevant to chosen Play Text
• Background to the Playwright/script developers
• Principles of drama such as: plot/characters, dialogue, themes
• Theatrical and dramatic techniques and conventions
• The visual and aural world of the play such as staging, setting, costumes,
music
• The Play Text as an ideal example of Theatre of the Absurd/Epic
Theatre/Post-Modern Theatre
• Audience reception and critical response: original audience and present
PRESCRIBED PLAY TEXT 2. SOUTH AFRICAN THEATRE PRE-
DEMOCRACY (1960-1994)

Analyse and evaluate the South African Play Text in context

NOTE: Reference must be made to Grade 11 work as background to Play
Text being studied e.g.: Realism, Stanislavski, Poor Theatre, Grotowski etc.

Theory
• Background/context: social, political, religious, economic, artistic, historical,
theatrical, as relevant to chosen Play Text
• Background of the Playwright/script developers
• Principles of Drama in chosen Play Text: plot, dialogue, character, theme
• Style and genre of Play Text
• Staging and setting
• Techniques and conventions
• Audience reception and critical response (by original audience and today)
TOPIC 6: SOUTH AFRICAN CONTEMPORARY THEATRE (POST 1994)

To examine South African Theatre post-apartheid

To examine Playwrights and groups
To identify key features and conventions of Contemporary Theatre in South
Africa
To understand the purposes of Theatre in society

Theory
• Background/context: social, political, religious, economic, artistic,
historical (post-1994)
• Themes and concerns of contemporary writers such as:
o Theatre for Reconciliation
o Theatre for Identity
o Theatre for Development
o Theatre as social commentary
o Theatre as political commentary
• Examples of Playwrights, Directors and Theatre groups
• Influence of movements and styles such as Satire, Physical Theatre,
Rituals, One-Person Performance, Visual Theatre, Puppetry,
• Community Theatre
• Key features and directions in Contemporary Theatre in South Africa
• Role of the Director / Theatre-Maker / Designer
Audience reception and critical response to the Play Text

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 SUMMARIES

The human brain learns better and quicker if you do something colorful, different and
fun.

Revision can be fun! Instead of making summary lists of facts, content, principles, characteristics,
terminology etc., why not draw Fact Fruit Trees where you fill in a fact per each fruit. Use a whole
page for one fruit tree. Make a tree for each of these Topics

1. Realism in the Theatre and Stanislavski

2. Poor Theatre and Grotowski
3. South African Workshop Theatre
4. 20th Century ‘isms’ (any three)
5. Theatre of the Absurd or Epic Theatre or Post-Modern Theatre
6. Pre- scribed play text 1: Absurd / Epic / Postmodern
7. Pre- scribed play text 2: South African Theatre (1960 – 1994)
8. South African Theatre (post 1994)
9. Voice and Body skills

How do you use these summaries? You can take a page and revise the key facts, etc. by
looking at the fruits, saying the facts etc. out loud. Paste the trees on a wall. Look at them
regularly
REALISME EN STANISLAVSKI ARM TEATER EN GROTOWSKY WERKSWINKELTEATER

https://za.pinterest.com/pin/14636767525949922/ https://za.pinterest.com/pin/304837468511040531/ https://za.pinterest.com/pin/497014508859743209/

THEATRE OF THE PRESCRIBED PLAY TEXT ABSURD
20TH CENTURY ISMS
ABSURD/EPIC/POSTMODERN / EPIC / POSTMODERN

https://za.pinterest.com/pin/503699539557546104/ https://za.pinterest.com/pin/403846291562556530/ http://fv-players-unite.blogspot.com/2011/01/chinese-

farmville-exclusive-areca-nut.html
PRESCRIBED PLAY TEXT. SOUTH SOUTH AFRICAN THEATRE (POST
VOICE AND BODY SKILLS
AFRICAN THEATRE. (1960-1994) 1994)

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how-to-draw-orange-easy_TRiohJh_5458293.png

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There are many ways of doing a summary. Find a way that works well for you. Mind maps, lists
with key words, making a song, writing a poem etc.

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 THE QUESTION PAPER FORMAT
The Question Paper has an instruction page, which you will see on the page below.
Read the instructions and mark the questions you have been preparing and revising for.
You will mark 1 question in each section

1. The paper is THREE hours long.

2 The TOTAL marks for the paper is 150.
Reading time of FIFTEEN minutes has been allocated before the start of the paper.
3. This is necessary to provide candidates with the opportunity to make the required
choices.

THIS QUESTION PAPER CONSISTS OF FOUR SECTIONS:

4. SECTION A: 20th Century Theatre Movements (30)
SECTION B: South African Theatre: 1960–1994 (40)
SECTION C: South African Theatre: Post-1994 – Contemporary (40)
SECTION D: The History of Theatre, Practical Concepts, Content and Skills (40)

SECTION A
5. QUESTION 1 is COMPULSORY.
Refer to the play text you have studied and its relevant 20 th Century Theatre Movement.

EPIC THEATRE
• Caucasian Chalk Circle Bertolt Brecht
• Kaukasiese Krytsirkel Translation of Bertolt Brecht play text
• Mother Courage Bertolt Brecht
• Moeder Courage Translation of Bertolt Brecht play text
• The Good Person of Szechwan Bertolt Brecht
• Kanna Hy Kô Hystoe Adam Small
OR
THEATRE OF THE ABSURD
• Waiting for Godot Samuel Beckett
• Afspraak met Godot Translation of Samuel Beckett play text
• Bagasie André P Brink
• The Bald Primadonna Eugene Ionesco
• Die Kaalkop Primadonna Translation of Eugene Ionesco play text
OR
POSTMODERN THEATRE
• Skrapnel Willem Anker
• Top Girls Carol Churchill
• Popcorn Ben Elton
• Buried Child Sam Shepard

SECTION B
6. This section consists of THREE questions. Answer only ONE question in this section.

• QUESTION 2: Woza Albert! Percy Mtwa, Mbongeni Ngema and Barney Simon OR
• QUESTION 3: Sophiatown Junction Avenue Theatre Company OR
• QUESTION 4: Siener in die Suburbs PG du Plessis

SECTION C
7. This section consists of THREE questions. Answer only ONE question in this section.

• QUESTION 5: Nothing but the Truth John Kani OR

• QUESTION 6: Groundswell Ian Bruce OR
• QUESTION 7: Missing Reza de Wet
(150)
SECTION D
8.
This section is COMPULSORY.

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 HOW TO ANALYSE AND ANSWER ANY QUESTION

Refer to Figure 1 on page 2, above, regarding the six levels headings and the action verbs associated with each of them.

Now, with that in mind, look at how a question paper (QP) is created
This is the Topic which will be
examined. Remember you have all
the Topics at the beginning of this
booklet.

This tells you, you must answer this

This tells you, you question. It is not a choice question
must write Question 1
in your answer script

This tells you, you must

read and understand
and use SOURCE A in
your answer

This tells you, you must write an ESSAY with a

beginning, middle and ending SOURCE A BUT it
also asks you to give your own opinion. This
means your answer must also include CREATE

This is your action verb.

EVALUATE
You now know that
your answer must
cover facts, content,
concepts, skills and
knowledge you
Remember
Understand
Apply
Analyse This tells you, you must include
evaluate examples from the Play Text AND
you must include two Dramatic
elements e.g. character, themes,
language, staging techniques.

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 TIPS TO ANSWER QUESTION 1: THE ESSAY

Read the action verb to know what level is being asked for, and study the Source.

For example, the Question Paper extract below asks you to EVALUATE what is given in
the Source.

If you only write down what you remember of the Play Text, the character, themes etc.-
you will only be given 0 to 50%, depending on how GOOD your memory is.

WHY?

▪ Because you have not answered the question and you have not used the
Source and you have not used your learnt and remembered content in a NEW
way

▪ The question asks you to EVALUATE what you have learnt and what you
remember in the context of the SOURCE.

▪ If you mention the source and you do not apply, analyse and evaluate the
learnt content you will still only get up to 50%

HOW?

To get more than 50%:

▪ Answer the question through remembering, understanding, applying, analysing

and evaluating the Play Text, character, themes to comment on the TRUTH of the
SOURCE

To get 80% - 100%:

● Write a new original essay. To achieve this, you must think in a new and original
way about what you remember, understand, apply, analyse and evaluate.

So, in conclusion:

● Analyse what the question wants. Do NOT just start writing down everything you
remember or understand about the Play Text, the characters, the themes etc.
You will not get more than 30%.

● You must work the SOURCE (Theatre makes us think and feel. It changes our life
experience) into the content you remember. Show you understand the SOURCE.
Show you can apply knowledge and understanding of the play text, characters,
themes to the SOURCE. Show you can analyse what it means. Show you can
reflect about the truth of the statement in relation to the characters, the play
and the themes.

• Give an original opinion, think in an original way.

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 TIPS TO ANSWER QUESTION 2 OR 3 OR 4 OR 5 OR 6 OR 7: PLAY TEXT QUESTIONS
These are Topics 6 and 7`s content, skills and
concepts being examined. Go back to Topics 6
and 6. Read the Key concepts section. Also read
the theory and practical sections. If you
remember all the content you will get 30% BUT if
you can do more: understand, apply etc. you can
get higher marks.

This is the
instruction

TO SUGGEST is a
‘remembering’
‘understanding’,
‘applying’
‘analysing’ and
‘evaluating
‘question. Select
TO ANALYSE is a three women
‘remembering’ and characters and give
‘understanding’ three examples and
question. Two explain all three
sentences saying examples to get 6
what they are marks
arguing about and
the reasons given
will be 4 marks

This is a ‘remembering’
‘understanding’, ‘applying’
‘analysing’ and ‘evaluating
‘‘creating’ question. The mark
allocation is high – 12. A
medium long essay is required.
Name the examples of the
issues in Thando`s speech.
Discuss each bullet in relation to
each issue. Use your own
thinking and opinions. Use facts
from the Play Text, The South
African Topics 6 and 7 to
motivate and support your
statements

17
 TIPS TO ANSWER QUESTION 8: THEATRE HISTORY AND PRACTICAL WORK

TIPS TO ANSWER QUESTION 8: THEATRE HISTORY AND PRACTICAL WORK

The SOURCE provides the context. African

Drama Forms and masks. Grade 10 work

Topic 9 Grade 11: The role of the Director

Anti-Realism

Staging: Grade Physical Theatre

10 T 2, 3, 4, 12

Physical Theatre
VERBS IN EACH
Gr 10: T 5, 7 QUESTION WILL
Gr 11: T 3, 6 Gr TELL YOU HOW
MUSCH CONTENT
12 T 2,3 YOU MUST GIVE
AND AT WHAT
CONTENT REQUIRED TO LEVEL OF BLOOMS
ANSWER ALL THESE 8.1.1 State:
QUESTIONS: remember = 2
Anti-Realism 8.1.2 Describe:
Physical Theatre remember and
Staging Conventions Staging understand = 6
Techniques 8.1.3 State:
Nonverbal remember = 4
Movement 8.1.4 Analyse:
Role of the Director Remember,
understand, apply
Vocal Skills
and analyse = 6
Physical Skills
8.1.5 Reflect:
Acting Skills Remember,
Technical Skills Play understand, apply
texts and analyse and
Theatre practitioners evaluate = 10. Short
essay
8.2. SOURCE +
Discuss: Truth or not
+ Examples +
Theatre Practitioners
+ Knowledge and
content of Dramatic
IT IS IMPORTANT TO LEARN ALL THE CONTENT OF EACH TOPIC. REVISE GRADE 10
Arts = 12. Medium
AND 11 WORK. BUT IT IS ALSO IMPORTANT TO KNOW HOW TO ANALYSE A QUESTION essay
AND HOW TO USE THE ‘VERB’ AND TO KNOW WHAT LEVEL OF BLOOMS THE VERB IS 18
AND WHAT TYPE OF ANSWER TO GIVE
 PRACTICE HOW TO ANSWER ANY QUESTION

You have now been taught how to plan your revision, how to use your revision tools. You have
also done extensive revision over a long period of time.
You know how to analyse and answer any questions.
It is time to practice.
To find past years Question Papers and Memoranda go to:
1. The Western Education Department website: Curriculum FET.
2. The Department of Basic Education website.
3. The Western Cape Education Department e-Portal
4. Download these QPs and Memoranda and Practice , practice….

19
 TOPICS THAT WILL BE COVERED IN THE PERFORMANCE EXAMINATION

CONTENT TEXT WORKBOOK VIDEO TITLE DATE, DAY, TIME REVISED

BOOK PAGE DONE
PAGE TICK
Topic 2: Preparation towards the Final External Performance
Examination
1. Adapted Theme Programme
2. Technical Programme
Integrate voice/ body skills
Apply theatre performance skills in three contrasting DRAMA ITEMS
Refine Voice and Body skills
Apply of interpretative skills and performance techniques
Demonstrate developing mastery of different STYLES AND MODES OF
PERFORMANCE

Practical work
• Apply voice and body training to all three drama items
• Choose theme
• Choose items based on:
• Demonstration of personal versatility and variety (ADAPTED Theme
Programme) OR
• Directing or technical design of a one-person show (Technical
Programme)
• Develop, apply and refine vocal and physical skills
• Apply appropriate and relevant acting, performance skills
• Use stage space creatively: the space around the body, stage space and
the audience
• Develop vocal and physical interpretation and characterisation
• Develop emotional connection and visualisation techniques
• Consider relationship to listener and audience awareness
• Locate the piece within the audition programme
• Refine voice and body skills
• Apply interpretative skills and performance techniques to all three items
e.g.: monologue, poem, storytelling, dramatised prose, a movement
item, physical theatre
• Develop links (dramatic devices used to creatively fuse all the items)
• Demonstrate development and mastery of different dramatic and cultural
forms and styles

This is part of the on-going preparation of the practical work for the final
External Performance Examination

Theory
• Understand the nature and process of an adapted audition programme or
an adapted theme programme
• Understand and apply:
• Attributes of voice and speech
• Attributes of movement (Laban’s movement analysis or Lessac’s
technique to ensure basic movement vocabulary)
• Verbal and non-verbal communication skills
• Acting and staging terminology
• Reflect on and evaluate performance work

20
 ADAPTED THEME PROGRAMME FORMAT

DRAMATIC
ITEM 1

SHORT
END LINK

+
+

DRAMATIC DRAMATIC
ITEM 3 ITEM 2

SHORT
LINK

1. An ADAPTED Theme Programme is for an INDIVIDUAL learner, so you will be performing

solo.
2. You must rehearse and perform 3 individual Dramatic Items with a link between each of
them.
3. Your items must be contrasting in both:
Genre / Movement e.g.:
• Commedia dell’ Arte
• Elizabethan
• Theatre of the Absurd
• Realism etc.
Style:
• Prose
• Poem
• Monologue etc.
4. E.G:
1. Item 1: Commedia dell'Arte Monologue
2. Short link
3. Item 2: Elizabethan Poem
4. Short link
5. Item 3: Realism South African Prose
6. The whole programme must be between 3 – 5 minutes long
7. There may be no interruptions between the items. The performance must be continuous

21
 ADAPTED THEME PROGRAMME SKILLS AND TECHNIQUES

The following skills and techniques must be used in every Dramatic Item:

1. Vocal attributes:
Pitch
Pace
Pause
An action is when something happens.
Tone
A new incident, thought, image,
Inflection
Phrasing motion etc.
Rhythm
Stress Remember to go back to your
Volume worksheet. Every new word /image
Emphasis has its own objective

2. Vocal skills
Articulation
Correct intercostal breathing
Use of the 6 resonators
Resonant voice
Pronunciation
Projection

3. Senses
See e.g.: colours, characters, images etc.
Smell e.g.: rain, cinnamon, burning fire etc.
Hear e.g.: clock, baby crying, other character speaking etc.
Touch’ and Feel e.g.: flower, water, apple etc.
Experience the emotions e.g.: fear, joy, sadness etc.
Taste for e.g.: the bitter apple, sweet cake etc.

4. Acting
To help you be truthful and have a new performance every time you do the Poem,
apply all Stanislavski’s techniques to the emotions, thoughts, imagination and the
visualisation
Action
Given Circumstances
Magic If
Imagination
Circles of attention
Units and Objectives
Super Objective
Emotional Memory
Temp –rhythm in Movement
Physical Action

5. Stage space
Relationship with the audience
Relationship with invisible character
Relating to the ‘room’ you are in
US, DS, CS, SL, SR, ETC

ADAPTED THEME PROGRAMME IMAGES TO INSPIRE YOU

22
LOOK CAREFULLY AT EVERY PHOTO.
NOTICE THE INTENSITY, POWER, HONESTY OF THESE PERFORMERS.
THEY ARE NOT HOLDING BACK EMOTIONALLY AND PHYSICALLY.
REHEARSE UNTIL YOU ARE AS STRONG.
ALSO LOOK AT THE INTERESTING WAYS OF USING THE BODY: STANDING, SEATED, ON THE
FLOOR.

https://umdwritersbloc.com/2015/03/31/review-the-fifth-annual- https://ppt.org/ppt_home/engage-learn/sh https://www.chinadaily.com.cn/a/201907/01/WS5d19452ba3103db https://www.centertheatregroup.org/about/press-room/press-

monologue-madness-brings-angry-vaginas-yoga-farts/ f1432b141.html releases-and-photos/general/2018/2018-august-wilson-monologue-
competition/

https://wtop.com/news/2014/03/actors-duke-it-out-in-monologue- https://www.chinadaily.com.cn/a/201907/01/WS5d19452ba3103db https://cuadvising.wordpress.com/2013/08/13/immigration- https://www.vision8studio.com/monologue-audition-intensive.html

madness/ f1432b141.html monologue-performance-fundraiser-in-longmont/

https://www.playbill.com/article/a-look-at-eve-enslers-in-the-body- https://www.weekendnotes.com/ophelias-inner-monologue- https://chicagoplays.com/august-wilson-monologue-competition/ https://www.miamiherald.com/entertainment/performing-

of-the-world-off-broadway melbourne-fringe-review/ arts/article66884287.html

http://www.erinpike.com/twss https://www.backstage.com/magazine/article/choosing-monologue- ps://www.vision8studio.com/monologue-audition-intensive.html https://www.cinemablend.com/television/Fox-Buys-Modern-

makes-sense-653/ Hamlet-Adaptation-America-Son-47149.html

23
 DAVES PSYCHO- MOTOR TAXONOMY
WHAT I MUST SHOW TO ACHIEVE
SYMBOL PERCENTAGE
LEVEL MARKS ON THIS LEVEL VERBS
A++ 95%- 100% Apply and demonstrate a natural (more than just
NATURALISATION thinking) mastery of skills and technique an unconscious Define, Design,
A+ 90% -100%
application and interpretation of skills and techniques Invent, Create
A 80%- 90%
Integrate and adapt skills and techniques to fulfil a Integrate, Adapt,
creative goal. Several skills and techniques are Solve, Coordinate,
B 70% - 79% ARTICULATION coordinated and performed together in a harmonious Apply, Modify,
way. Combine, Master

Demonstrate skills and techniques actively, reliably and

to a high quality, and independence from others. Demonstrate,
C 60% - 69% PRECISION Working and reworking something until its ‘just right’. Show, Complete,
Performance becomes more exact and actions are more Control, Perfect
precise and refined. Few errors.

D 40% -49% The reproduction lines / attributes of speech/ dialogue /

blocking / characterisation from instruction and memory. Reproduce, Carry
Out, Build, Perform,
Carry out the skills and techniques of acting, voice, Execute,
E 50% - 59%
MANIPULATION body, characterisation, symbol, theme, image and sub Implement
text interpretation, imagination, visualisation,
20 % - 39% Learns by watching, observing, imitating and reproduce.
F
Watch teacher and repeats skills and techniques of
Imitate, Copy,
G 10 – 19% IMITATION acting, voice, body, characterisation, image and sub text Follow, Repeat
interpretation, imagination, visualisation and
H 0 – 9% presentation of Dramatic Items and characters

Just as you used a Taxonomy for the theory work, so you have a tool to help with the practical
work. In Dramatic Arts, your teacher will have shown you how to use Dave’s Taxonomy. It tells
you what you need to improve your performance and your marks: get to know the levels
(IMITATE, MANIPULATE, PRECISION, ARTICULATION and NATURALISATION) and if you need help to
understand what they mean, call your teacher or discuss it with your learning buddy. This is
approximately how the levels affect your marks:

● IMITATE - 30%
● MANIPULATE - 40%
● PRECISION 60%-70%
● ARTICULATION 70%-80%
● If NATURALISATION 80%-100%

It’s vitally important to aim to work through and implement all the levels of Dave’s Taxonomy.
Dramatic Arts encourages us to work with a process approach, not a product checklist
approach. (Knowing all the lines and performing everything PERFECTLY would allow only a
superficial performance.)
Strive for the authentic emotions and gestures required by the levels of Dave’s taxonomy.
Your teachers will have taught you techniques for doing this (e.g., using imagination,
visualisation, senses, images, and symbols) and introduced you to the methods of Stanislavski
and Grotowski and others.

Do your vocal and physical warm ups and exercises every day.

Rehearse your Dramatic Items everyday

Do more than ‘Imitate’ / learn the lines. Move UP the Taxonomy.

PHONE YOUR TEACHER TO HELP YOU

24
PERCENTAGE 0 – 29 % 30 – 39 % 40 - 49 % 50 -59 % 60 – 69 % 70 – 79 % 80 – 100 %
SYMBOL G F E D C B A- A A+
Demonstrates little or Knows the words, understands Reasonable understanding of the Suitable understanding, Significant understanding, Excellent understanding, application, analysis, Exceptional
PREPARATION merely knows the words of the items and their subtexts, application of the items and their application and analysis of the application, analysis and evaluation evaluation and original creation of the presentation understanding, application, analysis, evaluation and
words, genres, subtext, interpretation, meaning, genre, all the items. Displays basic confidence, evidence of subtexts, is confident. Applies good items and their subtexts, is of the items and their subtexts, of the items and their subtexts, estimable superior originality in the creation of the presentation
style, variation in items limited confidence or thought, planning and rehearsal judgement of thought, planning and confident, good judgement of considerable confidence and sound confidence and excellent judgement of thought, of the items and their subtexts, Remarkable
evidence of thought, rehearsal. thought, planning and rehearsal. judgement of thought, planning and planning and rehearsal. confidence and superior judgement of thought,
planning and rehearsal rehearsal. planning and rehearsal.
VOCAL PRODUCTION Demonstrates little or basic Some understanding of technical Reasonable understanding and Suitable understanding, Significant understanding, Excellent understanding, application, analysis, Exceptional
Timing, rhythm, clarity, projection, pitch, articulation, pace, knowledge applied in vocal skills and proficiency: vocal good application of technical skills application and analysis of application, analysis and evaluation evaluation and original creation of technical skills Understanding, application, analysis, evaluation and
accent, control, volume, pause production interpretation of texts and vocal and proficiency. The vocal technical skills and proficiency. of technical skills and proficiency. and proficiency. Vocal interpretation of texts and superior originality in the creation of the presentation
breathing, modulation, accents, resonance, volume, variation is present and straight interpretation of text and vocal The vocal interpretation of text Vocal interpretation of texts and vocal variation are substantial. of the technical skills and proficiency. Vocal
interpretation of text, vocal variation forward. variation is reasonable. and vocal variation is acceptable. vocal variation are considerable interpretation of texts and vocal variation are
and extensive. exceptional
Demonstrates little or basic Good confident in the use of Reasonable understanding and Satisfactory and suitable Extensive and significant Excellent, admirable understanding, application, Exceptional and superior understanding, application,
STAGE SPACE knowledge of stage space stage space. Understands the application of the principles and the understanding, application and understanding, application, analysis analysis, evaluation and creative use of the analysis, evaluation and creative use of the principles
Stage areas, levels and dimensions. Blocking principles of stage space. use of these in the stage space. analysis of the principles and the and evaluation of the principles and principles in the stage space. in the stage space.
use of these in the stage space. the use of these in the stage space.
Demonstrates little or Straight forward understanding Reasonable and sensible Satisfactory and suitable Extensive and significant Excellent, admirable understanding, application, Exceptional and superior understanding, application,
LINKS merely knowledge and participation in links to understanding, application and understanding, application and understanding, application and application, participation in, analysis, evaluation participation in, analysis, evaluation and creative use
Selection, creation, transition`s length, style, genre, components in the use of enhance the meaning and flow of participation in of links to enhance participation in analysis of links to participation in links to enhance the and creative use of links to enhance the meaning of the links to enhance the meaning and flow of the
purpose and meaning links the programme the meaning and flow of the enhance the meaning and flow of meaning and flow of the and flow of the programme programme
programme. the programme programme
Demonstrates little or basic Demonstrates knowledge and Demonstrates knowledge and Demonstrates knowledge, Demonstrates knowledge and Demonstrates knowledge and understanding. Demonstrates knowledge and understanding.
UNDERSTANDING knowledge of the principles understanding of the principles of understanding and sensible and fair understanding and sufficient and understanding. Displays Displays excellent and admirable application, Displays exceptional and superior application,
Dramatic items, genre, style, conventions, meaning, of Dramatic items Dramatic items application of the principles satisfactory application of the considerable and significant evaluation and creative use of the principles evaluation and creative use of the principles Dramatic
interpretation, characterisation Dramatic items principles Dramatic items application and evaluation of the Dramatic items items
principles Dramatic items
PHYSICAL WORK Demonstrates little or basic Demonstrates knowledge and Demonstrates knowledge, Demonstrates knowledge, Demonstrates knowledge, Demonstrates knowledge, understanding and Demonstrates knowledge, understanding and
Body awareness, posture, relaxation, control, spatial knowledge of physical skills understanding of physical skills in understanding and fair application understanding and sufficient and understanding and extensive and excellent and admirable application, analysis, exceptional and superior application, analysis,
awareness, gesture, expression, characterisation, facial a straight forward manner of physical skills in a sensible satisfactory application and significant application, analysis and evaluation and creativity in the use of physical evaluation and creativity in the use of physical skills.
expression, movement, focus, concentration, energy, manner analysis of physical skills. evaluation of physical skills. skills.
proxemics, use of senses, emotional realisation
EMOTIONAL CONNECTION Demonstrates little or basic Understands emotional Understands and applies emotional Understands, applies and Understands, applies, analyses and Understands, applies, analyses, evaluates and Understands, applies, analyses, evaluates and
Emotional memory, choose and select appropriate knowledge of emotional connection and the skills that this connection and the skills that this analyses emotional connection evaluates emotional connection displays excellent creativity in the emotional displays exceptional creativity in the emotional
emotions, access authentic emotions, connect, internalize, connection criterion consists of in a straight criterion consists of in a reasonable and the skills that this criterion and the skills that this criterion connection and the skills that this criterion consists connection and the skills that this criterion consists of
express truthfully, control forward and basic manner manner consists of in a sufficient manner consists of in an extensive manner of in an admirable manner in a superior manner
CONNECTION TO LISTENING Demonstrates little or basic Knows and understands what Knows, understands and applies Knows, understands applies and Knows, understands applies Knows, understands applies analyses and Knows, understands applies analyses and evaluates
Focus, engage, in the moment, pay attention to body knowledge of connection to connects to listening is. Connects the skills and concepts of listening. analyses the skills and concepts analyses and evaluates the skills evaluates the skills and concepts of listening. the skills and concepts of listening. Creates original
language, emotional tone, how words are spoken, receive, listening to the speaker in a straight Connects to the speaker in a of listening. Connects to the and concepts of listening. Connects Creates original ways of listening. Connects to the and unexpected ways of listening. Connects to the
hear (intentions, sub text, motives, desires), consider, forward manner reasonable and sensible manner speaker in a suitable and to the speaker in a significant speaker in an excellent manner speaker in an exceptional manner
don`t think of your lines or response sufficient manner manner
Unengaging performance Elementary performance and Moderately engaging performance Adequately engaging Substantially engaging Commendable, engaging performance and Exceptionally engaging performance and content,
DRAMATIC IMPACT OF PROGRAMME and content. Demonstrates content. Demonstrates and content. Demonstrates performance and content. performance and content. content, demonstrates knowledge, understanding, demonstrates knowledge, understanding, application,
Choice, content and themes of the Dramatic items, little or basic knowledge of knowledge and understanding of knowledge, understanding and Demonstrates knowledge, Demonstrates knowledge, application, analysis, evaluation and creative use analysis, evaluation and creative and unexpected use
performance of the candidate, versatile in performance the skills and elements that the skills and elements to make a application of the skills and understanding, application and understanding, application, analysis of the skills and elements to make a dramatic and of the skills and elements to make a stupendous and
(styles, genres, conventions, accents, acting and vocal create an impact in a fundamental impact elements to make reasonable analysis of the skills and and evaluation of the skills and excellent impact. remarkable impact. Holistically integrated
skills, unique approach performance impact elements to make a sufficient elements to make a considerable performance.
impact impact
Unengaging performance Elementary level and Moderate level and reasonable Adequate level and sufficient Substantial level and extensive Meritorious level and excellent versatility. Outstanding level and exceptional versatility.
PERFORMER'S IMPACT IN THE and content. Demonstrates fundamental versatility. versatility. Demonstrates versatility. Demonstrates versatility. Demonstrates Demonstrates knowledge, understanding, Demonstrates knowledge, understanding, application,
PROGRAMME little or basic knowledge of Demonstrates understanding of knowledge, understanding and knowledge, understanding, knowledge, understanding, application, analysis, evaluation and creative use analysis and evaluation of the skills and elements, to
Versatility in genre, style, characterisation, the skills and elements to the skills and elements, to create application of the skills and application and analysis of the application, analysis and evaluation of the skills and elements, to create a create a performance, in a superior manner.
Vocal and physical proficiency), create a performance a performance, in a straight elements, to create a performance, skills and elements, to create a of the skills and elements, to create performance, in a commendable manner.
Skills and elements; performance energy, stage presence, forward manner in a reasonable manner performance, in a suitable a performance, in a significant
uniqueness, creativity, synergy with other candidates manner manner