Obami | Digital Stakeholder Experiences

Instructions - ANSWER ONLY THE QUESTIONS ON THE DRAMATIC TEXTS YOU HAVE STUDIED. You have been allocated FIFTEEN minutes' reading time before the start of the examination. Pay attention to the number of marks allocated to each question. Use your classroom knowledge, as well as independent and creative thinking, to answer the questions.

Information - This question paper consists of THREE sections: SECTION A (30 marks) SECTION B (60 marks) SECTION C (60 marks) Answer only ONE question from SECTION A. Answer only TWO questions from SECTION B. Section C QUESTION 1 and QUESTION 2 are COMPULSORY. From QUESTION 3, answer any ONE of the three questions:

SECTION A: UNDERSTAND AND ANALYSE - Answer EITHER QUESTION 1: EPIC THEATRE OR QUESTION 2: THEATRE OF THE ABSURD.

Marks: 60

Question 1:

EPIC THEATRE

Answer this question if you have studied the following:

Caucasian Chalk Circle OR
Mother Courage OR
Kanna Hy Kô Hystoe

Brecht believed that 'seducing' the audience into believing they were watching 'real life' led to an uncritical acceptance of society's values. He thought by keeping sets simple, showing exposed lighting instruments ... a production would allow an audience to maintain the emotional objectivity necessary to learn the truth about society. – Willett

Describe in an essay the theatrical techniques used in Epic Theatre. Discuss how these techniques allowed the audience to 'maintain ... objectivity'. Refer to specific examples from the play you have studied.

Your Answer:

Question 2:

THEATRE OF THE ABSURD
Answer this question if you have studied the following:

Waiting for Godot OR
The Bald Soprano OR
Bagasie

Non sequitur, nonsensical language, existential characters, ridiculous situations – these are the hallmarks (characteristics) of the theatre of the absurd. – Edwin Wilson

Discuss the validity (truth) of the quotation above. Refer to and describe specific examples from the absurdist play you have studied.

Your Answer:

SECTION B: UNDERSTAND AND ANALYSE - Answer only TWO questions from this section.

Question 1 - BOESMAN AND LENA BY ATHOL FUGARD Study the sources below and then answer the questions that follow.

Marks: 30

Attached Section Resource:

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Question 1:

Discuss whether you think that SOURCE A, a collage of two photographs, would be appropriate as a poster for a production of Boesman and Lena.

Your Answer:

Question 2:

Explain how the costumes and props shown in SOURCE A might be suitable for a performance of Boesman and Lena.

Your Answer:

Question 3:

The actress portraying Lena in the source above is a white actress, although the role is that of a coloured woman. Does this influence how the audience would respond to the production? Motivate.

Your Answer:

Question 4:

Refer to Source B

Describe the physical and vocal directions you would give to the actress playing Lena for her to portray this scene realistically. In your answer, include references to physical movements, gestures, facial expression and vocal variety.

Attached Resource:

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Your Answer:

Question 5:

Outa says very little in the play, but he is crucial to the development of the plot (story).

Explain the importance of Outa's role in Boesman and Lena.

Your Answer:

Question 6:

Their situation is hopeless; their destiny is to trudge endlessly from one barren and unforgiving place to another; outcasts, drunkards, the dregs of humanity through circumstance and fate. – Gisele Turner

Discuss, with examples, how the statement above is an accurate (correct) description of the play, Boesman and Lena.

Your Answer:

Question 2 - uNOSILIMELA BY CREDO MUTWA Study the sources below and answer the questions that follow.

Marks: 30

Attached Section Resource:

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Question 1:

Explain the effect of the repetition of the word 'children' in SOURCE A.

Your Answer:

Question 2:

Explain the theatrical significance of the storyteller's speech to the children.
(Lines 17–22)

Your Answer:

Question 3:

Discuss how Source A, the opening scene of the play, serves to create a suitable atmosphere to prepare the audience for the particular style of the production.

Your Answer:

Question 4:

Describe how you would direct the chorus of children to perform 'The song of the Children of the Sun sung in darkness' physically and vocally. (Lines 3–15)

Your Answer:

Question 5:

Justify how uNosilimela might be classified as an example of folklore drama.
In your answer, refer to SOURCE A and the broader context of the play.

Your Answer:

Question 6:

Name the type of staging shown in SOURCE B.

Attached Resource:

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Your Answer:

Question 7:

List THREE challenges associated with staging this performance in the open (outside).

Your Answer:

Question 8:

Explain why the type of staging, named in QUESTION 6, is suitable for a performance of uNosilimela. In your answer, refer to the use of costumes, props and the actor/audience relationship.

Your Answer:

Question 3 - WOZA ALBERT! BY PERCY MTWA, MBONGENI NGEMA AND BARNEY SIMON Study the sources below and answer the questions that follow.

Marks: 15

Attached Section Resource:

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Question 1:

The creators of Woza Albert! were influenced by the techniques of Poor Theatre.

Discuss THREE characteristics of Grotowski's Poor Theatre.

Your Answer:

Question 2:

Explain the function of the half squash ball painted pink (labelled A).

Your Answer:

Question 3:

The tea boxes (labelled B) are part of the set.

Name TWO other ways in which the tea boxes are used in the play.

Your Answer:

Question 4:

What is the purpose of the rail (labelled C)?

Your Answer:

Question 5:

Woza Albert! was originally a workshopped play which was eventually printed in a script form.

If you were a director, what challenges would you likely encounter when you rehearse a modern production of the play?

Your Answer:

Question 3.1

Marks: 15

Attached Section Resource:

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Question 1:

How might the use of IsiZulu and Afrikaans phrases in line 7, 'Aaay suka!', and line 17, 'Ek kan dit doen!', enhance (improve) the play?

Your Answer:

Question 2:

Explain what vocal and physical directions you would give to an actor playing Mbongeni in lines 4–7 to avoid the repetition of statements sounding similar.

Your Answer:

Question 3:

Identify and discuss the relevance of the themes in SOURCE B for South African audiences today.

Your Answer:

Question 4 - SOPHIATOWN BY THE JUNCTION AVENUE THEATRE COMPANY

Marks: 12

Attached Section Resource:

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Question 1:

Why is the play, Sophiatown, a valuable part of our heritage?

Your Answer:

Question 2:

Explain the role of the character of Jakes in the play, Sophiatown.

Your Answer:

Question 3:

Discuss how Jakes' opening monologue sets the scene (gives information) for the rest of the play.

Your Answer:

Question 4.1

Marks: 18

Attached Section Resource:

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Question 1:

In what way is Princess' loud laughter (line 7) typical of her character?

Your Answer:

Question 2:

Explain how Ruth's expectation and responses (line 6 and lines 12–13 and 15) create dramatic tension in the scene.

Your Answer:

Question 3:

Imagine that you are playing the character of Mingus. How would you deliver lines 1–2 vocally and physically to highlight his arrogance?

Your Answer:

Question 4:

Mandela wrote in his autobiography, Sophiatown died not to the sound of gunfire but to the sound of rumbling trucks and sledgehammers.

– John Edwin Mason

Discuss how the theme of forced removals is revealed in the play.
Use specific examples from the play and show how the statement above is a valid (correct) description of Sophiatown's history.

Your Answer:

Question 5 - NOTHING BUT THE TRUTH BY JOHN KANI Read the extract from Nothing but the Truth below and answer the questions that follow.

Marks: 30

Attached Section Resource:

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Question 1:

Discuss how Sipho's unnoticed entrance (line 1) adds to the theatrical suspense and tension in this scene.

Your Answer:

Question 2:

Mpho is an offstage character.

What is meant by the term offstage character?

Your Answer:

Question 3:

What is the theatrical effect of including Mpho as a character in Nothing but the Truth?

Your Answer:

Question 4:

How does Mandisa's attitude in lines 10–13 reveal (show) her character?

Your Answer:

Question 5:

Consider Sipho's comment, 'Well spoken, Mandisa! Like father, like daughter!' (line 14).

How would the actress playing Mandisa react physically to Sipho's words?

Your Answer:

Question 6:

Explain how the phrase 'Like father, like daughter!' (line 14) summarises a core theme of the play.

In your answer, refer to TWO examples from the play.

Your Answer:

Question 7:

Explain Kani's use of language and dialogue in SOURCE A and how it develops the realistic genre of the play.

Your Answer:

Question 8:

You have been selected to play the role of EITHER Mandisa OR Thando. Explain how you would use Stanislavski's acting techniques in your preparation and performance of the role.

Your Answer:

Question 6 - GROUNDSWELL BY IAN BRUCE Read the extract from Groundswell below and answer the questions that follow.

Marks: 30

Attached Section Resource:

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Question 1:

State why Thami uses the word 'informal' (line 8).

Your Answer:

Question 2:

Describe the tone of voice and volume you would suggest the actors use in performing lines 10 and 11 to emphasise their contrasting ideas.

Your Answer:

Question 3:

Explain how you would go about performing the character of Thami physically and vocally in lines 2–5 as he responds to Johan's question in line 1.

Your Answer:

Question 4:

Explain what Thami means in line 12 when he says these policemen here are part of the business'.

Your Answer:

Question 5:

And we're definitely not criminals' (line 18).

Assess how Johan's statement is ironic in the light of occurrences later in the play.

Your Answer:

Question 6:

Explain what the language and dialogue in this extract suggest about the relationship between Thami and Johan.

Your Answer:

Question 7:

Johan and Thami's different viewpoints on illegal diamond buying in this scene leads to increasing tension in their relationship.

Discuss how the emotional tension in the relationship between the characters is played out in their use of body, voice and stage space.

Your Answer:

Question 7 - SIENER IN DIE SUBURBS BY PG DU PLESSIS Read the extract below and answer the questions that follow.

Marks: 30

Attached Section Resource:

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Question 1:

Explain how you would use variety of vocal tone and volume to emphasise Tjokkie's increasing impatience with his sister when he repeats the phrase 'Sê nou vir Ma' (lines 1, 3 and 5).

Your Answer:

Question 2:

What is Tiemie referring to when she says '... ek's nog net twee weke oor ...'
(lines 10–11)?

Your Answer:

Question 3:

Explain how the dramatic tension is affected when Tjokkie is proved wrong later in the play when he says: 'Ek het niks met die hele ding uit te waaie nie'
(line 5).

Your Answer:

Question 4:

Explain the theatrical effect of Tiemie's words, 'Het Ma? Het Ma regtig? Het Ma?' (line 20).

Your Answer:

Question 5:

Discuss how PG du Plessis' use of language and dialogue in SOURCE A creates a realistic environment typical of the period on stage.

Your Answer:

Question 6:

This play is set in the 1970s in a white Afrikaans home. It has no relevance for South Africans today.

Discuss the validity of the above statement with reference to the issues highlighted in SOURCE A and the play as a whole.

Your Answer:

Question 8 - MISSING BY REZA DE WET Study the sources below and answer the questions that follow.

Marks: 9

Attached Section Resource:

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Question 1:

Name the TWO characters labelled A and B in SOURCE A.

Your Answer:

Question 2:

Explain why the costume and props for character B are suitable.

Your Answer:

Question 3:

State to what extent the photograph above is an accurate representation of the relationship between characters A and B.

Your Answer:

Question 8.1

Marks: 21

Attached Section Resource:

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Question 1:

Refer to Constable's words (lines 1–10).

Describe how you would direct the actor playing Constable to perform these lines (1–10) vocally and physically.

Your Answer:

Question 2:

How does Meisie's response to Constable's words in lines 1–10 prepare us for the future action in the play?

Your Answer:

Question 3:

What do Gertie's words in line 5 and line 12 tell the audience about her reaction to the Constable's words (lines 1–10)?

Your Answer:

Question 4:

Discuss the significance of references to scent and smell (introduced in lines 1–10) in the play as a whole.

Your Answer:

Question 5:

Suggest, with reasons, a suitable vocal volume and vocal pace an actress might use to emphasise the 'slightly sour' tone in line 12.

Your Answer:

Section C - APPLY PERSONAL RESOURCES AND REFLECT AND EVALUATE SECTION C is COMPULSORY.

Question 1 - Read the extract from Tshepang by Lara Foot Newton and answer the questions that follow. The play was inspired by the brutal rape of the nine-month-old baby Tshepang. In the production there are two actors. Simon tells the story and acts out various characters. Ruth is on stage but does not speak.

Marks: 15

Attached Section Resource:

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Question 1:

Explain to what extent the character Simon can be called a narrator.

Your Answer:

Question 2:

As the only speaking role in the play, Simon's vocal performance is crucial to the success of the play.

Describe how you would use tone, pace and volume
in lines 1–8 to build to the point of climax in this extract.

Your Answer:

Question 3:

The stage directions in line 9 say: 'He acts out the rape, using the broomstick and the loaf of bread.'

Why did the playwright choose to use the symbols of a loaf of bread to represent the baby and the broomstick as the rapist?

Your Answer:

Question 4:

Describe how you would get the actor portraying Simon to perform line 9 to maximise the horror of the rape for the audience.

Your Answer:

Question 2 - Refer to the source below and answer the questions that follow.

Marks: 15

Attached Section Resource:

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Question 1:

All the performers are carrying medical crutches (labelled A) and some of the performers are wearing surgical masks (labelled B).

Explain how these crutches and masks could affect the performers' performance.

Your Answer:

Question 2:

Describe the advantages and disadvantages of the stilts (labelled C) used by the central performer in defining his role in the performance.

Your Answer:

Question 3:

Source A shows performers from the PUSH Physical Theatre Company. Compare the difference in performance styles between dance companies and physical theatre companies.

Your Answer:

Question 2.1

Marks: 15

Attached Section Resource:

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Question 1:

Explain the meaning of stage fright. (Line 2)

Your Answer:

Question 2:

What happens when you are prompted? (Line 4)

Your Answer:

Question 3:

Give a definition of the term monologue. (Line 4)

Your Answer:

Question 4:

Explain what you understand by the term gestures. (Line 5)

Your Answer:

Question 5:

What advice do you have for Lindi that would help her remember her words when performing alone on stage?

Your Answer:

Question 6:

Using your experience as a Dramatic Arts learner, give TWO reasons why Lindi should continue with the subject.

Your Answer:

Question 3 - Answer ONE of the following three questions: QUESTION 3.1 OR QUESTION 3.2 OR QUESTION 3.3. Your answer should be about ONE page in length.

Question 3.1 - LIVE PERFORMANCE

Marks: 15

Attached Section Resource:

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Question 1:

Evaluate the importance of technical aspects in creating a production. You may use any of the points listed below.

􏰀 Drama practitioners you have studied
􏰀 Plays you have seen performed
􏰀 Drama texts you have studied
􏰀 Your own experience of performing

Your Answer:

Question 3.2 - MEDIA STUDIES

Marks: 15

Attached Section Resource:

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Question 1:

Discuss and evaluate the importance of photography and lighting in creating a film. You may use any of the points listed below.

􏰀 Films you have watched
􏰀 Screenplays you have studied
􏰀 Your own experience of filmmaking

Your Answer:

Question 3.3 - CULTURAL PERFORMANCE AND RITUAL

Marks: 15

Attached Section Resource:

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Question 1:

From a perspective of either a participant or spectator, evaluate this quotation in relation to any of the points listed below.

􏰀 The function of cultural performances and ritual in society
􏰀 Cultural performances and rituals you have watched and studied
􏰀 Cultural performances and rituals you have participated in

Your Answer: