Download Dramatical Arts

NATIONAL
SENIOR CERTIFICATE
GRADE 11
DRAMATIC ARTS
NOVEMBER 2007
MARKS: 150
TIME: 3 hours
This question paper consists of 14 pages.
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Dramatic Arts
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INSTRUCTIONS AND INFORMATION
1.
You have been allocated TEN minutes reading time.
2.
This question paper consists of NINE questions.
3.
Answer only THREE of the following nine questions:
QUESTION 1:
QUESTION 2:
QUESTION 3:
QUESTION 4:
QUESTION 5:
QUESTION 6:
QUESTION 7:
QUESTION 8:
QUESTION 9:
REALISM
SOUTH AFRICAN THEATRE
INDIGENOUS THEATRE
JAPANESE THEATRE
CHINESE THEATRE
MEDIA STUDIES
FRENCH CLASSICAL THEATRE
ELIZABETHAN THEATRE
AMERICAN THEATRE
4.
Number the answers correctly according to the numbering system used in this
question paper.
5.
Pay attention to the number of marks allocated to each question.
6.
While classroom knowledge can be used to answer questions, independent,
creative thinking, and the use of skills, knowledge and attitudes will be to your
advantage.
7.
Write neatly and legibly.
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QUESTION 1: REALISM
1.1
1.2
Indicate whether the following statements are TRUE or FALSE. Write 'true' or
'false' next to the question number (1.1.1 – 1.1.5) in the answer book. If the
statement is FALSE, write the correct statement.
1.1.1
Stanislavski used the term emotional memory to describe an actor
remembering his own life experiences to help create a believable
character performance.
1.1.2
Realism was a theatrical movement that showed scene changes
and exposed the lights to remind the audience they were watching
a play.
1.1.3
Social problems is a common theme in realistic plays.
1.1.4
Realists presented a slice of performance on stage.
1.1.5
Most realist playwrights ignored the psychological motivation of the
characters and simply presented them as superficial and onedimensional.
(10)
Realistic theatre resembles life so closely that one assumes it must be life.
– Edwin Wilson
Discuss to what extent the realist play (or the play containing realist elements)
you have studied this year 'resembles life so closely'. In your essay, justify
your answer by making reference to the following:
•
•
•
•
•
The playwright's intention
Characters and dialogue
Themes
Plot
Staging
(30)
Your essay should be 2 – 3 pages long (± 300 words).
1.3
There are two aspects to the technique of Stanislavski's system:
one inner where the mind and imagination create the thoughts and feelings of
the character;
the other outer where the body expresses and communicates what is going
on inside. – Jean Beneditti
Choose ONE character from the realist play (or the play containing realist
elements) you have studied. Describe THREE ways in which you would go
about preparing for a performance of that character, using both inner and
outer aspects of Stanislavski's system.
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(10)
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QUESTION 2: SOUTH AFRICAN THEATRE
Read the following extract from The Coat by Athol Fugard and then answer the
questions that follow:
Lavrenti:
Marie:
Lavrenti:
Marie:
Lavrenti:
Marie:
Lavrenti:
1
(Coming forward) What sort of coat was it?
Oh, just an old coat, a man's sports coat.
Torn?
I don't think it was torn. It might have had patches, but it wasn't torn.
5
So it was worth something.
Certainly. One rand, one rand fifty. Something like that.
(To the audience) Those were our facts. The first thing we did was to
improvise the little scene where the coat was handed over. We wanted to
see it, that moment, when it passed from the hands of a stranger to the
wife, because that is when the coat starts to live again, where it comes 10
back into our lives. Aniko will take the part of the wife. So then here it is:
The scene in which the wife gets back her husband's coat.
(Lavrenti sits down. Aniko joins Marie.)
Marie:
Hello, Mama.
Aniko:
Hello my child.
Marie:
How are you Mama?
Aniko:
I am alright my child. I am alright. How are you?
Marie:
Carrying on Mama. Trying to carry on. These are hard times.
2.1
15
Workshopping was a popular method of creating plays during the apartheid
era. What is your understanding of the term workshopping?
(4)
Give TWO reasons why workshopping was such a popular method of creating
plays.
(4)
Lavrenti in the above extract in lines 7 – 12 describes the process of
workshopping a play. Explain the observation, improvisation and selection
process in creating a play.
(6)
2.4
Name TWO examples of workshopped plays.
(2)
2.5
A workshopped play is a result of collaboration between a group of people
rather than the effort of a single playwright. What are the advantages of this
method?
(5)
2.2
2.3
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2.6
2.7
2.8
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Compare Marie's tone and volume in line 4 (where she is just herself, the
actor) and line 18 (where she plays the character).
(4)
Explain the gestures and facial expressions that an actor playing Lavrenti
might use when speaking lines 7 – 12.
(6)
South African playwrights and creators of plays often target hard-hitting
political, social and economic issues and aim to expose the injustices of
society.
By referring to the South African text that you have studied this year, discuss
how the playwright highlights any political, social or economic issues
prevalent in society.
2.9
(10)
Characters in South African plays can either be realistic, fully developed
characters or merely stereotypes.
2.9.1
2.9.2
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Indicate whether the characters in the play you have studied were
realistic or stereotypes. Give reasons for your answer.
Choose ONE character from the play you have studied and briefly
discuss the role and function of this character or stereotype.
(3)
(6)
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QUESTION 3: INDIGENOUS THEATRE
3.1
Self-fortification as a sacred ceremony is a part of all indigenous African
communities. For the execution of this ceremony, all African communities
make use of the same type of principles and elements in the space selected
for the ceremony to take place. This space is called the Performance Area.
See the diagram below.
Apply your knowledge and experience of self-fortification ceremonies and
answer the following questions:
SACRED CEREMONY PERFORMANCE SPACE
Entrance used mainly by the
members of the royal family
Male
performance
Sacred enclosure and acting
area for main performer
Entrance/Exit for male and
female performers
Entrance/Exit for male and
female performers
1.
2.
3.
4.
Male Acting Area
Femal Acting Area
Security Personnel
Undisclosed Royal
Security Personnel
Main entrance for male performers
© Phil Manana Productions 2006
3.1.1
During self-fortification, a ceremony is performed within the cattlebyre of a community.
What is the specific name given to this self-fortification ceremony in
any community you know?
3.1.2
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(1)
A sacred enclosure plays a prominent role during the performance.
(a)
Give ONE function of any sacred enclosure.
(b)
Name the enclosure.
(c)
Name the ceremony.
(3)
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3.1.3
3.1.4
3.1.5
3.1.6
3.1.7
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When a member of the community has broken the law and severe
punishment must be given, what will be the function of the sacred
enclosure?
(2)
Give ONE reason why a self-fortification ceremony needs a large
enough space.
(2)
Name FOUR props used in any sacred ceremony.
ceremony that you focused on, called?
(4)
What is the
Draw a graph that indicates the turning points, climax and resolution
of the sacred self-fortification ceremony in QUESTION 3.1.5.
(10)
The theatrical performance of all self-fortification ceremonies has a
mythical structure.
Discuss the following to show the purpose of the structural elements:
•
•
•
•
•
3.2
3.3
Language usage
Characterisation
Staging techniques
Entrances and exits
Acting areas
(10)
Self-fortification ceremonies compare well with the trials, tribulations and
triumphs of the Biblical Moses.
Discuss this statement in a short paragraph.
(10)
Name and comment on the FOUR stages of self-fortification.
(8)
[50]
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QUESTION 4: JAPANESE THEATRE
Answer EITHER QUESTION 4.1: Noh Theatre OR QUESTION 4.2: Kabuki Theatre.
4.1
'Noh takes life and reduces it to ritual.' – R Teele
Discuss the Noh Japanese Classical Theatre as a deeply felt ceremony in the
Japanese community in a carefully written, concise essay of 2 to 3 pages.
Refer to the following in your essay:
z
z
z
z
z
The origins of Noh Theatre
Actor training
Style of acting (both physical/movement and vocal/voice)
Staging and set
Ceremonial aspect
(50)
OR
4.2
'The fundamental theme of Kabuki is the conflict between the common people
and the feudal system.' – Ciro et al.
Discuss the Kabuki Theatre in a carefully written, concise essay of 2 to 3
pages.
Refer to the following in your essay:
z
z
z
z
z
The origins of Kabuki Theatre
Actor training
Style of acting (both physical/movement and vocal/voice)
Staging and set
Political and social context
(50)
[50]
QUESTION 5: CHINESE THEATRE
The actor is the focal point of Chinese Theatre.
In an essay of 2 to 3 pages, discuss the validity of the statement above by explaining
the role of the actor in Chinese Theatre and how he is supported by the following:
z
z
z
z
z
Staging and set
Music
Costume
Make-up
Style of acting (both physical and vocal)
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QUESTION 6: MEDIA STUDIES
6.1
Actors wishing to work in the film industry need to understand the shorthand
used in scripts. Explain what is meant by the following shorthand:
6.1.1
6.1.2
6.1.3
6.1.4
6.1.5
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POV
ECU
FVO
SFX
LS
(5)
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6.2
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The anti-gun society of South Africa is filming a documentary about the
dangers of unlicensed guns. The following film shot is of an unlicensed
hunter who has killed illegally on a farmer's land. This image is of the angles
from which the camera may shoot a subject. Label the different angles and
give a brief description of EACH.
6.2.1
6.2.2
6.2.3
6.2.4
6.2.5
6.2.6
(6 x 2)
6.3
6.3.1
Give the title of the film you have studied this year.
(1)
6.3.2
Comment on how this film could relate to the socio-political context
of South Africa.
(6)
6.3.3
Describe ONE character that you found interesting.
(5)
6.3.4
Who, in your opinion, is the target audience of this film? Give
reasons for your answer.
(5)
What was your response to this film? Motivate your answer.
(4)
6.3.5
6.4
(12)
Write an account of how an actor would prepare for a role in film or television.
Consider the following in your answer:
•
•
•
Script
Character
Dialogue
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(4 x 3)
(12)
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QUESTION 7: FRENCH CLASSICAL THEATRE
7.1
It is the year 1550. You are a young actor who has been part of a
performance in the theatre of the Hotel de Bourgogne.
7.1.1
7.1.2
7.2
7.3
Would you say that the Hotel Bourgogne is a proscenium arch
theatre?
(1)
Motivate your answer in QUESTION 7.1.1 by describing the
theatre structure, as well as the technical resources that were
used.
(7)
In 1680, Louis XIV gave the Comédie Française the right to perform all
spoken drama in France.
7.2.1
Discuss how this company was managed and organised.
(7)
7.2.2
If you were a modern-day theatre manager, would you organise
and manage your theatre in the same way as it was done at the
Comédie Française? Motivate your answer in a short paragraph.
(5)
Imagine that a play of the French Classical playwright that you have studied
this year will be performed at your local theatre. You must write an article
about the play for your school newspaper.
Discuss the French Classical principles reflected in the play. Your article has
to be 1 to 2 pages in length.
Refer to at least FIVE of the following:
z
z
z
z
z
z
Verisimilitude
Purity of dramatic types
The five-act form
Decorum
The purpose of drama
The three unities
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(30)
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QUESTION 8: ELIZABETHAN THEATRE
8.1
Read the extract below from Romeo and Juliet by William Shakespeare
where Mercutio and Tybalt are on opposite sides and involved in a street
fight. Romeo is trying to keep the peace. Answer the questions that
follow.
Tybalt:
What wouldst thou have with me?
Mercutio:
Good king of cats, nothing but one of your nine
lives; that I mean to make bold withal, and as you
shall use me hereafter, dry beat the rest of the
eight. Will you pluck your sword out of his pilcher
by the ears? Make haste, lest mine be about
your ears ere it be out.
1
5
Tybalt:
I am for you.
[drawing]
Romeo:
Gentle Mercutio, put thy rapier up.
Mercutio:
Come sir, your passado. (a fencing technique) [they fight]
Romeo:
Draw, Benvolio; beat down their weapons.
10
[Tybalt under Romeo's arm thrusts Mercutio, and flies]
[Romeo and Juliet, Act 3, Scene 1 by William Shakespeare]
8.1.1
Discuss the skills required of an Elizabethan actor to successfully
perform the above extract. In your answer refer to the following:
•
•
Physical (movement) skills the actor needs
Demands of Shakespeare's language (structure, use of
imagery, devices for dramatic effect)
The actor's vocal (voice) ability
(3 x 3)
•
8.1.2
You are directing the above extract at your school. You have to
place the scene in a modern context. Give a short description of
how you would direct the scene, using your own artistic
interpretation. Refer to the following in your answer:
•
•
•
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(9)
Performance space
Use of costumes and props
Use of improvisation to develop the scene
(3 x 3)
(9)
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8.2
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Imagine that you are an audience member who has been visiting the theatre
regularly. You have attended theatre performances during the late 1500s and
early 1600s in the public theatres, such as the Globe Theatre, and private
theatres, such as the Blackfriar's Theatre.
Discuss the differences that you have observed between the two types of
theatres in terms of the following:
8.2.1
8.2.2
8.2.3
8.2.4
8.3
8.4
8.5
Audience and atmosphere
Time of performances
The building structure
Technical theatre aspects
(4)
(2)
(2)
(2)
Suppose a young person was interested in a career in the theatre during the
Elizabethan period.
8.3.1
What possible career paths would be available to him/her?
(5)
8.3.2
Where would he/she go to seek training and employment?
(4)
What career options are available today for people interested in the theatre as
a career?
(6)
Today Shakespeare's plays are still performed in their traditional form or in an
adapted form, such as a film.
8.5.1
8.5.2
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Do you think Shakespeare's plays are still relevant for audiences
today? Justify your answer in a short paragraph.
Give TWO examples of modern adaptations of Shakespeare's
plays as viewed by audiences today.
(5)
(2)
[50]
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QUESTION 9: AMERICAN THEATRE
9.1
Name the title of the American play that you have studied this year.
(1)
9.2
Who was the playwright?
(1)
9.3
Theatrical realism is the term given to many American plays.
9.4
9.5
9.3.1
Explain your understanding of the term theatrical realism.
(4)
9.3.2
Give TWO examples of non-realistic theatrical devices and
techniques used in the American play that you have studied. Also
discuss the effectiveness of EACH.
(2 x 4)
(8)
Suggest FOUR ways in which the American play you have studied could be
adapted to have relevance for South African audiences today. Motivate your
answer.
(12)
Imagine that you are to perform as ONE of the characters from the American
play that you have studied. Choose a character you are familiar with and feel
you can create as a three-dimensional person on stage.
9.5.1
Give the name of the character you are going to perform.
(1)
9.5.2
Briefly describe the appearance of the character.
(3)
9.5.3
Describe the past history and the personality of the character.
(4)
9.5.4
What steps would you take to ensure that your performance
effectively depicts the character on the stage?
In your answer refer to the following:
•
•
9.6
Physical (movement/body) presentation
Vocal (voice) qualities of character
(8)
One of the career opportunities open to a Dramatic Arts learner is that of an
actor/actress. Write a paragraph discussing the positive and negative aspects
of acting as a career in South Africa today.
TOTAL:
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(8)
[50]
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