CREATIVE ARTS: SENIOR PHASEEXEMPLAR DRAMA EXAM QUESTIONS FOR ANALYSIS AND REFLECTION

1. Identify the Drama topic/s explored in the questions2. Consider the types of questions below3. Comment on the difficult level of each question

Paragraph questions1. You have received an award for excellent performance in Creative Arts

(Drama) Grade 7. You have to deliver a short speech in which you share the highlights of your Grade 7 Creative Arts experience. Give an account of your speech in a short paragraph of approximately 60 to 80 words. You may refer to the following:

o what you have learnt that was enriching and would add value to your lifeo aspects you want to celebrate and/improve on and/ changeo why it is important to be exposed to the arts (Drama) at schoolo advice to fellow learners studying Drama (15)

Rubric to assess paragraphMarks

Code Descriptor

13 - 15

Outstanding

Learner able to answer comprehensively with relation to Creative Arts concepts and skills acquired during the year. The language (terminology) of the arts is used with exceptional skill. The paragraph is a detailed rendition of the learner’s critical reflection on his/her Creative Arts experiences.

10 -12 Good Learner able to answer with relation to various Creative Arts concepts and skills acquired during the year. The language (terminology) of the arts is used. The paragraph is a rendition of the learner’s reflection on his/her Creative Arts experiences.

8-10 Average Learner able to answer by stating general experience in Creative Arts and using some reference to Creative Arts concepts and skills. Limited arts terminology is used. The paragraph is a rendition of the learner’s reflection on some of his/her Creative Arts experiences.

6-7 Adequate Candidate answers at superficial level, rewriting the question and making general and at time vague comments. The paragraph lacks unity and consists of a series of statements. Experiences in Creative Arts are listed to an adequate extend, but lacks depth.

0-5 Weak Candidate answers by rewriting question. Reference to Creative Arts experiences is vague and not accurate. Weak writing skills, not coherent.

DRAMA: characterisation

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1. Your teacher comments on your performance of a dramatic piece:

“A life-like character – very convincing, the audience can believe in the character!”

1.1Explain how you have developed a convincing (believable) character by focusing on the following: Mannerisms Body Language Facial expressions (3X2=6)

Memorandum1.1 Any answer that justifies the statement could be accepted.

An actor can develop a character by observation and imitation. It is helpful to focus on the following when developing the character:

Mannerisms : specific movements and characteristic traits to a person, should be functional, economic and varied

Body Language: showing different expressions through the body Facial expressions: showing mood and emotion

(3X2=6)

1. Look at the diagram below that shows basic staging conventions. Complete the diagram by filling in the missing words. Make sure you write the correct term next to the appropriate number (1.1.1 – 1.1.5) in your answer book.

backstage

wings(off

stage right)

upstage right

1. 1 upstage left wing

s(off stag

eleft)

stage right

1.2 stage left

1.3 1.4 1.5

audienceauditorium

(5)[15]

1.1 upstage1. 2 centre stage

2

1. 3 down stage right1. 4 down stage

1. 5 down stage left (5)[15]

“The Prime of Miss Jean Brodie” (Mr. Adrian Skelly – Rustenbutg GHS)

The following questions refer to ADDENDUM A overleaf:

1.1 Name the two characters featured in this photograph. (2)

1.2 Focus carefully on the characters’ facial expressions and use of body language. Explain what these two reveal about the relationship between the characters. (2 + 2 = 4)

3.5. Comment on the very obvious change in costume of the character on the right-hand side in this final scene of the production.

(4)

ADDENDUM A: Photograph

This photograph was taken during a rehearsal of Rustenburg’s production of “The Prime of Miss Jean Brodie”

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Two characters below meet each other at midnight and talk for five minutes.

They exchange a parcel and leave each other, worried they will be seen in each other’s company.

1.1Write a script in the correct format for this three-five minute scene. You must decide on character, situation and conflict. (20) The rubric below will be used to assess you. (20)

Rubric to assess script

Criteria Level 4 [4] Level 3 [3] Level 2 [2] Level 1 [1]The script followed the prescribed format with characters, dialogue and stage directions

Outstanding script format.

Good script format.

Fair script format.

Poor script format.

Script embraces dramatic elements such as grouping, shape and climax to communicate meaning and feeling

Outstanding structure.

Good structure. Fair structure. Poor structure.

Script is creative, original and exciting and offers much opportunity for dynamic interpretation in a stage production

Exceptionally creative and exciting.

Creative and exciting.

Fairly creative and exciting.

Not very creative and exciting.

Script shows development of character.

Characters well developed, with interesting characteristics.

A good attempt at character development; some attention to their individual characteristics.

An attempt at character development; little attention to individual characteristics.

A poor attempt at character development; no attention to individual characteristics

Script shows development of situation with conflict.

Situation well developed with interesting conflict evident.

Situation developed with some conflict evident.

Situation fairly well developed, but more conflict needs to be evident.

Situation poorly developed with no conflict evident.

(20)

1. Study sketch A below of a production team that is responsible for a performance of a play:

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Sketch A

PROPS MASTER CHOREOGRAPHER DIRECTOR SET DESIGNER LIGHTING DESIGNER

Give a short description of the function of each of the following people working in the theatre:

1.1Props Master (2)

1.2Choreographer (2)

1.3Director (2)

1.4Set Designer (2)

1.5Lighting Designer (2)(10)

Memorandum

1.1Props Master: Designs, creates, collects and buys the necessary props for the play. Ensure that that all the hand props are laid out on a table in labeled areas for actors to use during the play. Keeps an inventory of all the props needed for each actor. Ensure that props that are broken are mended and ready for every performance.

(2)

1.2Choreographer: Responsible for designing and creating of all the dances for the performers in a musical or gives advice on movement for characters and use of the stage space in a play. In larger productions, the choreographer turns rehearsals over to an assistant choreographer called the dance captain.

(2)

1.3Director: The director is usually hired by the producer. He/she will often express what the producer wants the play to say. Directors take the text and make it come alive. He/she interprets the text through the use of actors and designers. The director analyses the text and create a vision for bringing it to

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life. The director works with the producer, and they hire a design team: the sets, costumes, lights, props. The most important thing about really good directors is that they are all very good collaborators. It takes lots of people to create a successful show, and the director is the liaison between all of them. The director works with the Actors, Stage Manager, the Producer, the Costume Designer, the Set Designer, the Lighting Designer, the Sound Designer, and if it is a musical, the Musical Director and the Choreographer to create the final product. The director has the final say on matters of the creative concept and it is his job to communicate openly with everyone involved, and stay on budget. (2)

1.4Set Designer: Designs the set on stage. The set is motivated by the content of the play. The set is the immovable structure on stage and can be symbolic or realistic. He/she turns the director’s creative concepts into reality through the design and construction of the set.

(2)

1.5Lighting Designer: designs the sequence of light changes from beginning to end. The lighting adds atmosphere, indicates the time of day and enhances the mood of the play.He/she turns the director’s creative concepts into reality through the use of lighting. (2)(10)

1. Read the extract from the poem Excursion by Sally-Ann Murray where she describes the view from a car on the N2 in Durban and answer the questions that follow:

Here chokes the Mgeni, wending, unwinding its lengthalong lives half hidden: drums, tin, plastic, wattle; shacksmade homely with cooking and kids and the slow strengthof living that’s flapped in the washing, mapped in the tracks

between stands. But which view is stagedby the traveling eye as the land is razedin a daze of speeding? Billboards flash futures, signs grazethe gaze without staining the fingers

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1.1 Explain how you would speak lines 1 & 2 (‘Here chokes … wattle;’) to draw attention to the Mgeni (the polluted river). (4)

1.2 What is the function of the semi-colon (;) in line 2. (2)

1.3 Describe how and why you would use variety in pace when performing lines 2-4 (‘shacks made homely…in the tracks’)

(4)

1.4 Refer to the underlined words in stanza 2 (lines 5-8). The ‘ze’ sound is repeated. Discuss how this would affect your performance of the poem?

(5)

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1. Reflect on an improvised scene you have performed this year, and answer the following:

a) Clearly explain what to improvise means. [4]b) Explain how you have applied the following to ensure a successful and

believable performance:i) vocal projection [6]ii) use of movement

[10] iii) characterisation [10] [30]

During this year’s practical work you have worked on an individual dramatised prose. In a short essay of approximately 120 words describe and explain the following:

a) How you communicate the aspects of your different characters across to your audience by using movement, action, verbal communication, props (if any)?

[5]

b) The climax of your prose and how you build towards it. [5]

c) Explain the problems you faced in terms of:i) interpretation of your piece [5]ii) vocal range [5]

[20]

Write any essay of approximately 20 lines discussing how you personally have benefited from the work done in Drama Practical. [15]

1 Read the extract from People Are Living There below and answer the questions which follow:

MILLY Will you stop trying to make me satisfied with nothing.1

DON I think we had a fair run for our money.MILLY We’ve had one dirty riddle, and the spectacle of you

Gusting yourself on my money.DON If I pay you back my share will you call it quits?

5MILLY You’ll pay me back your share by making me laugh.DON Milly, please! I’m being serious.MILLY That makes two of us.DON I know, and that’s why I’m nervous. It won’t work.

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Take my advice and call it a day. Nothing’s happened yet…. 10MILLY Exactly!DON [trying to ignore her] We’re intact, in shape. We can still retire

with grace. But beyond this lies the point of no return.MILLY Good! I’ve always hated going back.DON For the last time I’m warning you – this is getting dangerous.

15MILLY Coward!DON All right.MILLY Yellow belly!DON [standing] If that’s the way you feel about it, I’ll leave the two

Of you….. 20MILLY Just you try! [Don stops.] Just you try!SHORTY [trying to pour oil on troubled waters] Please, chaps.MILLY [to Don] So sit down and shut up, because here we go.

[With growing aggression] To start off with, there’ll be asing-song. 25

DON I flatly refuse.SHORTY Don, please, man!

1.1.1 Which word would Milly emphasise in Lines 3 and 4? Give a reason for your answer. [2]

1.1.2 Where in the extract would you find a rising inflection? Write down the line number and give a reason for your answer. [2]

1.1.3 What does the ellipsis in line 10 suggest for the actors in terms of delivery of the lines? [1]

1.1.4 What gestures would you suggest for the actors on the following lines? Give a reason for your answer.a) Shorty’s Line 22: “Please, chaps.”b) Don’s Line 26: “I flatly refuse.”c) Milly’s Line 18: “Yellow Belly” [6]

1.1.5 How would Shorty say Line 27? Why? [2]

1.1.6 What is the general pace of this extract? Explain your answer. [3]

1.1.7 How would an actress playing Milly show the “growing aggression” indicated in the stage directions? (Line 24).

[2]

1.1.8 During this scene, the actors are, for the most part, seated around a table. What challenges would this pose for the actors in their performance?

[2][20]

1. You are adjudicating at the inter–house drama festival at your school and must address the following speech faults in your comments. Suggest two exercises to improve the following:

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o mumbling o breathy toneo too soft voice (6)

Mumbling – two articulation exercises1. BP GK DT, 2. babbedy-bebbedy-bibbedy-bobbedy-bubbedy

pappety-peppety-pippety-poppety-puppety

gaggedy-geggedy-giggedy-goggedy-guggedykakkety-kekkety-kikkety-kokkety-kukkety daddedy-deddedy-diddedy-doddedy-duddedy tattety-tettety-tittety-tottety-tuttety

Any other articulation exercise (2)

Breathy tone - two breathing exercises1. In a relaxed position, keeping your shoulders weighted down, breathe

in to the count of four, hold for four and exhale counting to four slowly. Repeat, breathing in for four, hold for four and then count orally to five. Repeat extending the oral counting to 6, 8, and 10 .

2. Try saying the following groups of words on one breath, on a quiet, but sustained tone:

1 –10 the days of the week the months of the year Any other breathing exercise (2)

Too soft voice - two projection exercises Visualise that your voice is a stream of paint.

Decide on the colour of you voice (paint). Say: ‘Away to the woods on the wings of the wind!’

“Paint” the person in front of you with your voice. Then breathe and “paint” five meters / ten meters away – to the back of the room.

Call as if from a distance – prolong vowel sounds, guard against shrillness

– Wait for me!– Yoo hoo! Ho there!

Any other exercise to improve projection (2)[6]

1. Read the extract below and explain how you and one or two partners would present this. Refer to the following in your discussion:

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1.1 Use of voice to characterise (4)1.2 Use of the body to characterise (4)1.3 Use of pace – refer to examples from the extract (2)1.4 Use of pause – refer to examples from the extract (2)1.5 Use of projection – refer to examples from the extract (2)[14]

“Hey, my spaghetti’s moving!” cried Mr. Twit, poking 1around in it with his fork.“It’s a new kind”, Mrs. Twit said, taking a mouthful

from her plate which of course had no worms. “It’s

called squiggly spaghetti. It’s delicious. Eat it up while it’s nice and hot.” 5“It’s not as good as the ordinary kind” he saidtalking with his mouth full. “It’s too squishy.”“I find it very tasty”, Mrs. Twit said. She waswatching him from the other end of the table. It gave her great pleasure to watch him eating worms. 10“I find it rather bitter”, Mr. Twit said.“It’s got a distinctly bitter flavour. Buy the other kind next time.”

1. Application to extract: could refer to two characters and narrator1.1 Vocal characterisation

Show differences between characters in voice – tone and pitch, refer to vocal qualities of each character. Credit to creative thinking and application.

(4)1.2 Physical characterisation: could refer to two characters and narrator.

Indicate differences between characters with regard the body language, gestures, facial expression. Refer to both characters. Credit to creative and innovative thinking.

(4)

1.3 Use of pace – refer to examples from the extractRefer to examples from text where pace would be faster or slower. Motivate answer.

(2)

1.4 Use of pause – refer to examples from the extractRefer to examples from text where pause would be used for emphasis, anticipation, create meaning, to breathe. Motivateyour answer. (2)

1.5 Use of projection – refer to examples from the extract Refer to examples from text where projection would be used for emphasis, to create meaning. Motivate answer (2)[14]

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