Dramatic Arts. Western Cape Education Department. Exemplar. Memorandum.Grade 10. September .2011.NSC.
MARKS: 100
TIME: 2 hours
This memorandum consists of 11 pages.
GENERAL NOTES TO MARKERS- As a marker make short comments why a point was marked up or down if thememo does not give a clear guideline and the marker has to use own discretion
- Tick clearly to indicate the learning point which is being assessed. Markersshould engage actively with the answer
- Chief markers to facilitate the rubric with markers. The level descriptors ofDramatic Arts to guide the marking
- Have regular rounds of consultation to ensure marking is standardised
- In the case where a candidate writes more than the suggested number of wordsdo not penalise (essay question)
- The memo discussion forum cannot sufficiently predict all responses. Markers to take this into account and be open to candidates' responses andmake sure that different teaching styles do not disadvantage the candidate
- Spend time to unpack the quality and quantity of the evidence in thememo and standardise and find common definitions and concepts
- Markers to align Assessment Standards with the questions
1. The paper is TWO hours long
2. The total marks for the paper is 100
3. Candidates have been allocated reading time of TEN minutes before the start of the paper. This is
necessary to provide candidates with the opportunity to make the required choices
4. This question paper consists of THREE sections
SECTION A (40 marks)
SECTION B (20 marks) and
SECTION C (40 marks)
5. SECTION A: UNDERSTAND AND ANALYSE
This section consists of TWO questions:
- QUESTION 1: GREEK THEATRE
- QUESTION 2: MEDIEVAL THEATRE
6. SECTION B: UNDERSTAND AND ANALYSE
This section consists of ONE question:
- QUESTION 3: AFRICAN DRAMA FORMS
7. SECTION C: APPLY PERSONAL RESOURCES and REFLECT AND EVALUATE
This section consists of THREE questions. Question 4, 5 and 6:
- QUESTION 4: VOICE PRODUCTION
- QUESTION 5: PHYSICAL BODY DEVELOPMENT
- QUESTION 6.1. LIVE PERFORMANCE
- QUESTION 6.2 MEDIA STUDIES
- QUESTION 6.3 CULTURAL PERFORMANCE AND RITUAL
The weighting of the LOs for the paper as per the SAG document is asfollows:
• LO1 – 20% (20 marks)
• LO3 – 60% (40 marks)
• LO4 – 20% (20 marks)
SECTION A: UNDERSTAND AND ANALYSE
THIS SECTION IS COMPULSORY
QUESTION 1: GREEK THEATRE
1.1. Chorus:
Originally the chorus had 50 members – disguises were often used especially in the comedies, e.g. the satyrs, later wasps, birds or frogs. (Aristophanes). Aeschylus reduced the number to 12 – they still played an important role to fill in the background and future; poetry of a high standard was used. Sophocles increased the number to 15 again, but decreased the role of the chorus; they were still involved in commenting on action and characters. Euripides made the chorus superfluous – they became more individual characters who gave advice and support. In general: The chorus performed in unison – speaking, singing and dancing; chorus leader sometimes had solo lines; they made their entrance after the prologue and remained on stage until the end of the play; they give advice, opinions, express the author’s point of view and is basically the ideal spectator – reacting to events and characters; they set the mood of the play and heighten the dramatic effect; they add movement, colour and spectacle.
Accept answers selected from on above information.(2)
1.2. The state also financed a part of the production – it was seen as a religious and civic function of great importance; therefore no legal proceedings were allowed during festivals; admission was free and later only 2 obols were charged, but a fund was established for those who could not pay; the state supervised the judging.
Accept answers selected from on above information. (2)
1.3. Physical theatre
In 6th century BC – the original acting and dancing area (orchestra) was a circle cut out into the hillside and the audience sat against the hill (the theatron); later seats were added of wood and no formal scenic background was used. The orchestra was the “dancing-place” for the Greeks, where the chorus performed their songs and dances, and were often joined by the actors. In the orchestra there was an altar to Dionysus, a reminder of the theatre’s religious function. Sometimes the plots of plays contained religious ceremonies which were performed at this altar.
5 – 4th Century BC – The circle was now reserved for the chorus and the whole theatre gradually reconstructed in stone; possibly a slightly raised platform was used for the actors behind the orchestra space (logeion); the scenic or stage house was a wooden building (skene) added behind this where the actors changed their costumes. (The English word “scene” comes from this word.) It had large double doors which opened for the actors to make entrances, and there were probably two smaller doors on either side. On the sides of the skene were projecting side wings (paraskenia) and in the front of these were passageways for the chorus on ground floor level (parodos).Most of the action took place out of doors, e.g. in front of a palace or a temple; deaths occurred off-stage and a large central doorway was opened to reveal a wheeled platform with the bodies on it (eccyclema); the gods could appear on the roof of the stage house with a crane like device (machina)A triangular construction with painted sides revolved to indicate the setting of the play (periaktoi) but there is dispute about it’s existence.The stage area (proskenion) was later raised on pillars, with ramps above the paraskenia and at the end of the ramps were imposing gateways. (The English word “proscenium arch” comes from this.)
Accept answers selected from on above information. (3)
1.4. Tragic hero / heroine
1.4.1. What is the name of the character that you will portray? (Indv Answers) (1) 14.2. Outline the qualities of the tragic hero that you will take into account when you prepare
for this performance.(see notes below)
The tragic hero
A tragic hero is a literary character who makes errors in judgment, usually in their actions, that inevitably leads to his/her own demise (death).[
Characteristic features: Aristotle once said that "A man doesn't become a hero until he can see the root of his own downfall." An Aristotelian tragic hero must possess specific characteristics, five of which are below:
- Nobility (of a noble birth) or wisdom (by virtue of birth).
- Hamartia (translated as flaw or error in judgment). Either a mistake in the character's actions or in his personality that leads to a downfall.
- A reversal of fortune (peripeteia) brought about because of the hero's Hamartia.
- The discovery or recognition that the reversal was brought about by the hero's own actions (anagnorisis)
- The audience must feel dramatic irony for the character.
Initially, the tragic hero should be neither better nor worse morally than normal people, in order to allow the audience to identify with him. This also introduces pity, which is crucial in tragedy, for if the hero were perfect we would either be outraged with his fate or not especially care due to his ideological superiority. If the hero were evil, then the audience would feel that he had gotten what he deserved. It is important to strike a balance in the hero's character.
Eventually the Aristotelian tragic hero dies a tragic death, having fallen from great heights and having made an irreversible mistake. The hero must courageously accept his or her death with honor. This is not the case with all tragic heroes, since Oedipus does not in fact kill himself. (4)
1.5. Dramatic irony creates suspense in drama. Do you agree with this statement? Support
your answer with reference to the Greek play you have studied. (see notes below) (5)
Dramatic irony
In drama, the device of giving the spectator an item of information that at least one of the characters in the narrative is unaware of (at least consciously), thus of placing the spectator a step ahead of at least one of the characters. Dramatic irony involves three stages: installation, exploitation and resolution.
There is dramatic irony in the fact that Antigone knows that there is an edict forbidding her to bury her brother – yet she does it because she feels it is the correct thing to do according to the laws of the Greek gods. She is caught and that creates suspense because we wonder what her uncle, Creaon will do – he then reasons with her, but she is resolute inher beliefs and is then sentenced to death. More dramatic irony is also in Haemon who conronts his father (Creon) about the death panalty of Antigone – the father does not realise that Haemon so desperately loves Antigone that he is willing to die with or for her – wich happns in the end. The mother dicovers the bodies and alos kills herself. The last dramatic irony is that reaon is left alone – because he was too stubborn and full of himself to allow for tolerance he thinks a good leader is one who sticks to his decision in an autocratic way.
1.6. Discuss the actor in Greek plays – how he dressed, the conventions, etc.(3)
Only male actors were allowed to act in the plays.
They wore high boots or built up shoes called kothurnos or buskin – making them appear seven feet six inches in height.
They wore a very simple flowing garment (chiton) and it was padded to prevent them from appearing too thin; the pattern or colour would indicate the character’s status or mood.
They wore masks for the different characters made out of linen, cork or wood; it had a huge opening for the mouth and the tragedy mask was down turned and the comic one upturned.; men played female roles.
Sophocles introduced a 2nd character on stage and Euripides a 3rd actor – there was never more than 3 speaking character on stage; sometimes dumb figures (non speaking characters) were used.
The actor would always address the chorus first when appearing on stage.
Deaths never occurred on stage – they were reported by a messenger or took place off stage (they could not have one of the three actor immobilized with “death” on stage and it was awkward to remove a dead body; the report was more dramatic and the audience could add its own imagination to visualize what happened.
No programmes were printed – when actors appeared on stage the 1st time, the chorus would announce who it is or another actor would announce or address the person; the audience could always see from the costume and mask what rank or status the character had.
The acting style of Greek drama is uncertain – simple stylised actions were used and some actions were indicated in the script like weeping, running and falling to the ground. The actions were probably expressive and idealized. The chorus would also make comments which indicated if a character was crying, etc. (Crying with a mask was difficult to see.
QUESTION 2: MEDIEVAL THEATRE
2.1. acrobats/dancers/mimes/animal-trainers/jugglers/wrestlers/ballad-singers/storytellers (3)
2.2. make lessons more graphic/Latin language of the church/spectacle/make church doctrine
more interesting and lively(2)
2.3. cathedrals; priests(2)
2.4. acting space divided into two parts – mansions and platea; altars and crucifix central
point; Hell on priest’s left and Heaven on right; mansions on either side of nave.(only two)(2)
2.5. overcrowding; licentious and bawdry crept in; plays interfered with liturgy; original
simplicity lost.(only three) (3)
2.6. Vernacular tongue instead of Latin; spoken instead of chanted dialogue; non-clerical
used as actors (3)
2.7. Brief facts from the following:
Staging techniques
a) Fixed or static stages: set against buildings on one side of town square, or extend down middle of square (viewed from three sides) or set up in ancient Roman amphitheatres or other circular places (viewed in the round).
b) Moveable or perambulatory stages: pageant wagons on which mansions were mounted and moved from one place to another; constructed in two levels and roofed over; lower half used as a dressing room and upper level used for the play.
c) Basic approaches to production:
i) Mansions and platea
ii) Script - a series of playlets, contents taken from the Bible or some other religious source; order of performance not based on causal relationship among playlets but determined by original source.
iii) Always Heaven, Hell and Earth in the productions.
iv) Special effects were important and convincingly realistic; stage machinery invented for this (“secrets”); much of it operated from beneath the stage using numerous trap doors and ropes and pulleys attached to adjoining buildings.
v) Medieval plays used a lot of symbolic devices coupled with fragmentary scenes, e.g. small buildings.
vi) Costumes distinguished between inhabitants of Heaven and Earth, Hell, God, angels, saints, etc.; each of saints or biblical persons connected with a specific symbol, e.g. St Peter – keys (Heaven); Earthly characters wore contemporary medieval garments; Devils dresses with great imagination using wings, claws, beaks, horns or tails. (5)
[20]
TOTAL SECTION A: [40]
SECTION B: UNDERSTAND AND ANALYSE
THIS SECTION IS COMPULSORY
QUESTION 3: AFRICAN DRAMATIC FORMS
Have You Seen Zandile?by Gcina Mhlope
3.1Ugogo / Grandmother (1)
3.2 She was kidnapped while she was playing outside. She was taken to Transkei
and later we learn that it was her mother who arranged for her to be kidnapped. (3)
3.3She is a bright, intelligent, inquisitive little eight year old when we first meet her.
She loves her grandmother and is very happy living with her. She is allowed to be a child
and is taught good values and morals. She loves school and this shows in the good reports
that she receives. She experiences problems when she is kidnapped like wetting her bed.
She also finds life difficult there as she is not allowed to communicate with her Gogo.
The actor will have to age from 8 years up until 18 years when the play ends. (6)
3.4.1 Intercostal Diaphragmatic Breathing(2)
3.4.2 Breathing may be shallow and taken only in the upper part of the chest. Speech might then be inaudible and sound garbled. (2)
3.5.1 So that the actor would appear confident and free from tension. The voice would not be strained. The range of the voice diminishes under tension, and tension also affects the projection of the voice. (3)
3.5.2 Examples could be: The windmill exercise, rotation of the head and neck, stretch and release, rolling down etc. EXERCISES MUST BE DESCRIBED IN DETAIL IN ORDER TO OBTAIN 3 MARKS. (3)
[20]
TOTAL SECTION B: [20]
SECTION C: APPLY PERSONAL RESOURCES AND REFLECT AND EVALUATE
SECTION C IS COMPULSORY
QUESTION 4: VOICE PRODUCTION
4.1Feet parallel, under your shoulders
Knees facing forward, but not locked
Bum should be underneath your torso
Chest lifted, but not sticking out.
Arms relaxed next to your sides
Head should be parallel to the floor, eyes facing forward. (5)
4.2E, A, D, B, C (5)
4.3Lips, tongue, teeth, hard and soft palate (5)
(15)
[15]
QUESTION 5: PHYSICAL BODY DEVELOPMENT
Refer to the sources about the physical theatre / movement performance Letlalo (Skin) below.
SOURCE A
Drawing his inspiration from ancestral worship and rituals as well as contemporary world cultures, Vincent Sekwati Koko Mantsoe says the spirits are integral to releasing the full passion of his movement.
“I tryto explore different energies through different performers coming from different backgrounds and cultures, how they may reflect on and express what does not belong to them (as we are all borrowers.”
A wildly explorative, intelligent piece that asks as many questions as it finds the answers. The stage resembles a clinical laboratory, with underfoot spot lighting and futuristic projections. With movements inspired by fight ceremonies, the performers invade each other's space with respect, allowing the skin to use its own sophisticated language. Science can't explain these invisible signals of the skin, rich in microscopic details of feeling, so eloquently expressed by the performance.
From the outside we look different, but underneath, aren't we all the same? This is the underlying premise of a high-energy double-bill that explores what lies beneath the skin, where our skin begins and ends, the spirit of unity and all the things that we all share.
SOURCE B
5. 1. Title good - refers to the skin of the dancers – rituals used and contemporary culture – so blending of sources modern and new; also mention the dancers themselves coming from different backgrounds and cultures – so “skin” is a good title – it’s what see outside – like skin colour; but also the passionate expression of ideas.
Refer or quote the words in the source doc A regarding dancers invading each other’s space with respects; invisible signals of the skin; what lies beneath the skin… unity, all things we share, etc.(3)
5.2 Two advantages would be – not having to construct / paint / make any décor or set;
it does not limit the space to be used – full stage space available for movement;
can be anything creative that’s filmed – possibilities endless – can also be moving / animated images that complement or blend with movements of the dancers. (6)