DBE NSC/SC Dramatic Arts Exam Papers May/June 2023 : education.gov.za

Organisation : Department of Basic Education (DBE)
Exam Name : National Senior Certificate (NSC) / Senior Certificate (SC) Examinations
Facility : Download Exam Papers
Month &Year : May/June 2023
Subject : Dramatic Arts
Medium : English
Papers : Paper 1
Country : South Africa
Website : https://www.education.gov.za/Curriculum/NationalSeniorCertificate(NSC)Examinations/2023MayJuneExamPapers.aspx

DBE NSC/SC Dramatic Arts Exam Paper

Download Department of Basic Education (DBE) National Senior Certificate (NSC) / Senior Certificate (SC) Examinations May/June 2023 Dramatic Arts Paper 1 (English) Exam Papers.

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Section B: South African Theatre: 1960–1994
Answer only ONE question in this section.

Question 2: Woza Albert! By Percy Mtwa, Mbongeni Ngema And Barney Simon
Study SOURCE B below and answer the questions that follow.

Source B: A Theatre Critic’s Review Of Woza Albert!
Recently I saw a production of Woza Albert! that was both uninspired and boring. It was little more than a reading of the play. Indeed, the complete lack of theatrical elements such as characterisation, ideophones, singing, mime, physical theatre and dance displayed a complete misunderstanding of the original theatrical style and impact of the play. The actors merely sat and spoke their lines, giving no life to the many characters they should have portrayed.

However, Woza Albert! still has a great deal to say about the current sociopolitical and economic situation in South Africa. When Woza Albert! was created, its main aim was to expose the injustices of apartheid and mobilise change outside of the theatre.

The central idea of the play, what Morena, Jesus Christ, would do if the second coming were to take place in apartheid-era South Africa, is brought to a thrilling conclusion when Morena brings struggle heroes back from the dead. By standing on the shoulders of our heroes and using what they taught us, we can make South Africa a better place. Even today, this play has the power to inspire solidarity, outrage and action.
– Bradley Adams

2.1 Name the ‘original theatrical style’ of the play (line 4).
2.2 State TWO aims of the theatrical style named in QUESTION 2.1.
2.3 Identify the theatrical elements of the production of Woza Albert! that were criticised by Bradley Adams.
2.4 Explain how the ‘injustices of apartheid’ (line 9) are presented in Woza Albert!
2.5 Describe how the steps/phases of the workshop process of Woza Albert! began with the ‘central idea of the play’ (line 10) and developed from that.
2.6 Motivate why Morena is such an important character, although he only appears in the final scene of the play.
2.7 Evaluate how the play still ‘has the power to inspire solidarity, outrage and action’ (line 14).
2.8 Suggest how you would create a production of Woza Albert! to make it theatrically more exciting than the description in SOURCE B.

Question 3: Sophiatown By The Junction Avenue Theatre Company
Study SOURCE C below and answer the questions that follow.
Source C: A Theatre Critic’s Review Of Sophiatown

Recently I saw a production of Sophiatown that was both uninspired and boring. It was little more than a reading of the play. Indeed, the complete lack of theatrical elements such as narration, music, dancing, banners and slogans displayed a complete misunderstanding of the original theatrical style and impact of the play. The actors merely sat and spoke their lines, giving no life to the characters they should have portrayed.

However, Sophiatown still has a great deal to say about the current sociopolitical and economic situation in South Africa. When the play was created, its main aim was to expose the injustices of apartheid, document the history of the country and mobilise change outside of the theatre.

The initial idea was what would happen if a white Jewish girl answered an advertisement to stay in Sophiatown in apartheid South Africa, but the main aim of the play was to show the systematic demolition of the spirit and place that was Sophia, Kofifi. The play is brought to a devastating conclusion after Sophiatown is destroyed. We could learn much from watching a production true to the original style in which it was made, produced and performed.

Even today, this play has the power to inspire solidarity, outrage and action. – Lebo Ntshingila

3.1 Name the ‘original theatrical style’ of the play (line 4).
3.2 State TWO aims of the theatrical style named in QUESTION 3.1.
3.3 Identify the theatrical elements of the production of Sophiatown which were criticised by Lebo Ntshingila.
3.4 Explain how the ‘injustices of apartheid’ (line 9) are presented in Sophiatown.
3.5 Describe how the steps/phases of the workshop process of Sophiatown began with the ‘initial idea’ of the play (line 11) and developed from that.
3.6 Motivate why Charlie might be an important character although he hardly ever speaks in the play.
3.7 Evaluate how the play still ‘has the power to inspire solidarity, outrage and action’ (line 17).
3.8 Suggest how you would create a production of Sophiatown to make it theatrically more exciting than the description in SOURCE C.

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