EPIC THEATRE

Answer this question if you have studied Caucasian Chalk Circle OR Mother Courage
OR Kanna Hy Kô Hystoe.

Brecht defined his Epic Theatre as challenging the dream world where all problems are
carefully resolved; he wanted a spectator who was awake and alert. His theatre posed
problems and, far from solving them, was designed to leave the audience with the task
of finding solutions.

Discuss in an essay how the Epic techniques and the themes used in the Epic play
you have studied this year encouraged the audience to be aware and critical of
society's problems

THEATRE OF THE ABSURD

Answer this question if you have studied Waiting for Godot OR The Bald Primadonna OR Bagasie.

Absurd Theatre was surreal, illogical, conflictless and plotless. The dialogue often seemed to be complete gibberish. And, not surprisingly, the public's first reaction to this new theatre was incomprehension and rejection.
(Jerome P Crabbe)

Explain in a detailed essay how the statement above is true of the Absurdist genre.

You may include the following in your answer:
•  Philosophy of Theatre of the Absurd
•  Characteristics/Features of Theatre of the Absurd
•  Structure of plays
•  Dialogue used in plays

You must use specific examples from the play text to support your answer

Explain why Athol Fugard chose to use a mixture of languages in the extract
above.

Why did the police at that time not take Lena's complaints of abuse seriously?

How does Boesman's dialogue in these lines highlight his attitude towards abuse and domestic violence?

This play was first produced on 10 July 1969  and reflected attitudes that were prevalent at that time.

Do you think that the attitude of the police towards abuse and domestic violence has changed since then? Give reasons for your
answer.

Why does Lena not carry out her threat of leaving Boesman?

Describe the stage type that would suit a production of Boesman and Lena.
Give a reason for your answer.

'Lena is Boesman's victim and Boesman is society's victim.'
Discuss how the extract reveals the validity (truth) of the statement above.
Refer to the extract and the text as a whole.

uNosilimela contains elements of mythology.
Identify a myth from the text and explain how it enhances (adds to) the
structure and style of the play.

How does the storyteller help the audience to understand the play
better?

How would you dress the storyteller to represent 'the image of
God'?

Imagine that you have been cast to play the role of the storyteller.
Explain how you would present lines 5–11 using any TWO
attributes of speech (inflection, volume, pitch, pace, pause and
emphasis) to present the character of the storyteller effectively.

Explain how you might use any THREE props to enhance the performance of
the play. Motivate your answer.

Why is the audience made to sit around some of the acting areas?

State ONE advantage of this type of staging

Discuss ONE limitation of this type of staging.

What sounds and other special effects could you use to reflect the
sacred (holy) nature of the Ithala/cave?

Would you be encouraged to watch a performance of the play Woza Albert!
after reading this review? Motivate your answer.

Explain  why the performance of this play is described as an 'extremely
physical piece of theatre'. Give TWO reasons.

Explain why and how  the  actors use their bodies as instruments  of
performance to create various characters and the sounds in the play

'The audience clapped spontaneously when the imaginary thread finally went
through the imaginary needle' (lines 14–15).
What acting technique is used here and why was it necessary to use this
method?

Explain why Woza Albert! is a good example of a protest play.

Discuss TWO themes, with examples from the play, that draw attention to the
'inequalities of life when whites had it all and blacks picked up the scraps'
(lines 8–9)

Identify characters A, B and C on the production photo.

Why does the household break out in a celebratory song in line 1?

What was the purpose of including songs in the play Sophiatown?

Explain how Ruth, a white girl, ended up living in Mamariti's shebeen and
what does this say about her character?

In this scene all the characters are enjoying themselves.
Describe, in a paragraph, another scene from the play where the mood and
atmosphere are completely different.

Name the process used to create this play

Briefly describe THREE phases in the creation process.

How might this method of creating plays benefit a theatre
company?

By describing the set and costumes in SOURCE A, explain how it enhances
(adds to) the realistic genre of the play.

Explain why the urn on the table (SOURCE A) is a source of conflict in this
scene.

Refer to the extract in SOURCE B.
How would you direct an actor portraying Sipho vocally and physically to draw
attention to his emotional state in lines 1–4?

Discuss the cultural differences between Mandisa and Sipho which are
evident in the extract above and the play as a whole.

Discuss the relevance that a play like Nothing but the Truth has in society by
referring to the characters, dialogue and subject matter.

Which performance style would be most appropriate for this play?

Describe the set that one might use to support the performance style of the
play.

What does Thami mean in line 11 when he speaks about a 'jackpot'?

What event is Thami referring to in this line?

Discuss how Thami's statement highlights the theme of guilt and
redemption.

In lines 5 and 7 Johan repeats the words 'You're lying'.
How would you direct the actor performing the role of Johan to deliver these
lines vocally and physically to highlight the growing tension between the two
characters?

Refer to the photo in SOURCE B.
Although Johan is holding a knife, Thami's body language does not convey
fear.
Explain the shift in power in between Johan and Thami that culminates in the
final confrontation between them.

Read the excerpt from a review of Groundswell below and then answer the
question that follows.

Post-apartheid South Africa may seem far away from here, but the tale that unravels in Groundswell (which is set there), is one many audience members
may relate to quite easily. Written by Ian Bruce, this thriller follows three men who traverse a tightrope of greed and desperation in a chaotic scheme.
(Diana Saenger)

Do you agree that audience members would enjoy the play even if they did
not know the history of apartheid? Motivate your answer.

Name  ONE character  that belongs  to the upper world of the
suburbs and say why he/she is placed there.

In which world would you place the character of Sybil? Give a
reason for your answer.

Discuss how the character of Tiemie reflects someone who is striving to
escape from the 'misery of a precarious existence' (struggling to live).

In the extract above Giel and Jakes say that they have 'trouble'
('moeilikheid'). Explain Giel's 'trouble'.

You are playing the character of Jakes. Explain how you would
perform lines 1, 4–7 and 10 vocally and physically to make Jakes's
conversation with Giel engaging (to hold the audience's attention).

You are the director of Siener in die Suburbs.
Draw the sketch below in your ANSWER BOOK and show, with
reasons, where you would place/position the characters Jakes, Fé
and Giel during their conversation in the extract above.
Make use of the following key when indicating where you would
position the characters:
•  J = Jakes
•  F = Fé
•  G = Giel

Describe the social and economic conditions of the Great
Depression that form the background of the play Missing.

Explain how EACH of the following characters has been influenced
by the Great Depression:
•  Miem
•  Gabriel          
•  Meisie

Why does Gertie say 'tonight's no time to be alone' (line 1)?

Traditionally the screech of an owl is a sign of evil.
Explain how the references  to owls  connect to the theme of
exorcism in Missing in the extract above

Discuss how the playwright Reza de Wet uses the sound of the
wind to convey atmosphere and meaning in Missing. Refer to the
extract above and the play as a whole.

You are playing the role of Gertie. Explain how you would perform
lines 9–11  vocally and physically to create  the  mood and
atmosphere evident in these lines.

Imagine that you had to present the monologue above as part of your Theme
Programme.
Describe TWO exercises you would use to prepare your voice and body to
deliver such a serious monologue.

Explain how vocal variety can be used in the monologue above to create the
sense of growing fear and panic that Mr Matwetwe is feeling.

Ellipses (...) are found in lines 1, 3 and 5.
What do you suggest should happen where these ellipses occur, and why?

Suggest what the other members in your group should be doing while you are
delivering this monologue

Would you consider the performance in SOURCE A to be an example of
Physical Theatre? Motivate your answer

Explain whether you would prefer to watch a physical theatre performance or
a performance of a traditional play.

How would having an all-male or an all-female cast affect the presentation
of a physical theatre performance? Motivate your answer

The body speaks more eloquently (powerfully) than words.
Why would this statement be true for the performance in SOURCE A?
Motivate your answer.

Study the picture in SOURCE B.
Do you think that the use of costumes would enhance the presentation of a
movement piece?

Discuss TWO skills/qualities a learner would need in order to perform in the
movement piece shown above.

Discuss THREE factors that you and your group took into consideration in the
planning and preparation of your movement piece.

Discuss the validity of the statements above by stating the impact the
audience has on the actor and his performance.
In your answer, refer to:
•  Performances you have watched
•  Your own experience of performing
•  Theatre practitioners you have studied

Discuss the popularity of reality shows and explain why they appeal to
ordinary people.
In your answer, refer to:
•  Techniques used (for example the use of celebrities)
•  Audience participation
•  Media hype

Discuss the validity of the statement above.
In your answer, refer to:
•  The ceremony above
•  Any other cultural ceremony that you practise or are familiar with
•  The relationship between the actor and the audience