National Curriculum Statement (NCS)

Curriculum and Assessment

Policy Statement
DRAMATIC ARTS

Further Education and Training Phase

Grades 10-12





 Curriculum and Assessment Policy Statement
GRADES 10-12

DRAMATIC ARTS

CAPS
DRAMATIC ARTS GRADES 10-12

Department of Basic Education

222 Struben Street

Private Bag X895
Pretoria 0001
South Africa
Tel: +27 12 357 3000
Fax: +27 12 323 0601

120 Plein Street Private Bag X9023

Cape Town 8000
South Africa
Tel: +27 21 465 1701
Fax: +27 21 461 8110
Website: http://www.education.gov.za

© 2011 Department of Basic Education

Isbn: 978-1-4315-0590-6

Design and Layout by: Ndabase Printing Solution

Printed by: Government Printing Works

CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

FOREWORD BY THE MINISTER

Our national curriculum is the culmination of our efforts over a period of seventeen
years to transform the curriculum bequeathed to us by apartheid. From the start of
democracy we have built our curriculum on the values that inspired our Constitution
(Act 108 of 1996). The Preamble to the Constitution states that the aims of the
Constitution are to:

• heal the divisions of the past and establish a society based on democratic
values, social justice and fundamental human rights;

• improve the quality of life of all citizens and free the potential of each person;

• lay the foundations for a democratic and open society in which government is
based on the will of the people and every citizen is equally protected by law;
and

• build a united and democratic South Africa able to take its rightful place as a sovereign state in the family of
nations.

Education and the curriculum have an important role to play in realising these aims.

In 1997 we introduced outcomes-based education to overcome the curricular divisions of the past, but the experience
of implementation prompted a review in 2000. This led to the first curriculum revision: the Revised National Curriculum
Statement Grades R-9 and the National Curriculum Statement Grades 10-12 (2002).

Ongoing implementation challenges resulted in another review in 2009 and we revised the Revised National
Curriculum Statement (2002) and the National Curriculum Statement Grades 10-12 to produce this document.

From 2012 the two National Curriculum Statements, for Grades R-9 and Grades 10-12 respectively, are combined
in a single document and will simply be known as the National Curriculum Statement Grades R-12. The National
Curriculum Statement for Grades R-12 builds on the previous curriculum but also updates it and aims to provide
clearer specification of what is to be taught and learnt on a term-by-term basis.

The National Curriculum Statement Grades R-12 represents a policy statement for learning and teaching in South
African schools and comprises of the following:

(a) Curriculum and Assessment Policy Statements (CAPS) for all approved subjects listed in this document;

(b) National policy pertaining to the programme and promotion requirements of the National Curriculum Statement
Grades R-12; and

(c) National Protocol for Assessment Grades R-12.

MRS ANGIE MOTSHEKGA, MP

MINISTER OF BASIC EDUCATION
DRAMATIC ARTS GRADES 10-12

CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
CONTENTS

SECTION 1: INTRODUCTION TO THE CURRICULUM AND ASSESSMENT POLICY STATEMENTS... 3

1.1 Background......................................................................................................................................................3

1.2 Overview...........................................................................................................................................................3

1.3 General aims of the South African Curriculum.............................................................................................4

1.4 Time allocation.................................................................................................................................................5

1.4.1 Foundation Phase....................................................................................................................................6

1.4.2 Intermediate Phase..................................................................................................................................6

1.4.3 Senior Phase...........................................................................................................................................7

1.4.4 Grades 10 -12..........................................................................................................................................7

SECTION 2: INTRODUCTION TO DRAMATIC ARTS............................................................................... 8

2.1 What is the subject Dramatic Arts?................................................................................................................8

2.2 Specific aims....................................................................................................................................................9

2.3 Time allocation for Dramatic Arts in the curriculum.....................................................................................9

2.4 Overview of topics and weighting..................................................................................................................9

2.5 Topics: content...............................................................................................................................................10

2.6 Progression....................................................................................................................................................12

2.7 Suggested and prescribed plays..................................................................................................................12

Section 3: OVERVIEW OF TOPICS PER TERM AND ANNUAL TEACHING PLANS........................ 47

3.1 Introduction....................................................................................................................................................47

3.2 Informal and daily assessment.....................................................................................................................47

3.3 Formal assessment........................................................................................................................................47

3.4 Programme of assessment...........................................................................................................................50

3.4.1 Types of formal assessment for Dramatic Arts......................................................................................50

3.5 Recording and reporting...............................................................................................................................57

3.6 Moderation of assessment............................................................................................................................58

3.7 Annexure.........................................................................................................................................................59

3.8 General............................................................................................................................................................62

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DRAMATIC ARTS GRADES 10-12

2 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
sECTION 1

INTRODUCTION TO THE Curriculum and Assessment Policy StatementS for DRAMATIC

ARTS gradeS 10-12

1.1 Background

The National Curriculum Statement Grades R-12 (NCS) stipulates policy on curriculum and assessment in the
schooling sector.

To improve implementation, the National Curriculum Statement was amended, with the amendments coming into
effect in January 2012. A single comprehensive Curriculum and Assessment Policy document was developed for
each subject to replace Subject Statements, Learning Programme Guidelines and Subject Assessment Guidelines
in Grades R-12.

1.2 Overview

(a) The National Curriculum Statement Grades R-12 (January 2012) represents a policy statement for learning
and teaching in South African schools and comprises the following:

(i) Curriculum and Assessment Policy Statements for each approved school subject;

(ii) The policy document, National policy pertaining to the programme and promotion requirements of the
National Curriculum Statement Grades R-12; and

(iii) The policy document, National Protocol for Assessment Grades R-12 (January 2012).

(b) The National Curriculum Statement Grades R-12 (January 2012) replaces the two current national curricula
statements, namely the

(i) Revised National Curriculum Statement Grades R-9, Government Gazette No. 23406 of 31 May 2002,
and

(ii) National Curriculum Statement Grades 10-12 Government Gazettes, No. 25545 of 6 October 2003 and
No. 27594 of 17 May 2005.

(c) The national curriculum statements contemplated in subparagraphs b(i) and (ii) comprise the following policy
documents which will be incrementally repealed by the National Curriculum Statement Grades R-12 (January
2012) during the period 2012-2014:

(i) The Learning Area/Subject Statements, Learning Programme Guidelines and Subject Assessment
Guidelines for Grades R-9 and Grades 10-12;

(ii) The policy document, National Policy on assessment and qualifications for schools in the General
Education and Training Band, promulgated in Government Notice No. 124 in Government Gazette No.
29626 of 12 February 2007;

(iii) The policy document, the National Senior Certificate: A qualification at Level 4 on the National
Qualifications Framework (NQF), promulgated in Government Gazette No.27819 of 20 July 2005;

CAPS 3
DRAMATIC ARTS GRADES 10-12
(iv) The policy document, An addendum to the policy document, the National Senior Certificate: A
qualification at Level 4 on the National Qualifications Framework (NQF), regarding learners with special
needs, published in Government Gazette, No.29466 of 11 December 2006, is incorporated in the policy
document, National policy pertaining to the programme and promotion requirements of the National
Curriculum Statement Grades R-12; and

(v) The policy document, An addendum to the policy document, the National Senior Certificate: A
qualification at Level 4 on the National Qualifications Framework (NQF), regarding the National Protocol
for Assessment (Grades R-12), promulgated in Government Notice No.1267 in Government Gazette
No. 29467 of 11 December 2006.

(d) The policy document, National policy pertaining to the programme and promotion requirements of the
National Curriculum Statement Grades R-12, and the sections on the Curriculum and Assessment Policy as
contemplated in Chapters 2, 3 and 4 of this document constitute the norms and standards of the National
Curriculum Statement Grades R-12. It will therefore, in terms of section 6A of the South African Schools Act,
1996 (Act No. 84 of 1996,) form the basis for the Minister of Basic Education to determine minimum outcomes
and standards, as well as the processes and procedures for the assessment of learner achievement to be
applicable to public and independent schools.

1.3 General aims of the South African Curriculum

(a) The National Curriculum Statement Grades R-12 gives expression to the knowledge, skills and values worth
learning in South African schools. This curriculum aims to ensure that children acquire and apply knowledge
and skills in ways that are meaningful to their own lives. In this regard, the curriculum promotes knowledge in
local contexts, while being sensitive to global imperatives.

(b) The National Curriculum Statement Grades R-12 serves the purposes of:

• equipping learners, irrespective of their socio-economic background, race, gender, physical ability or
intellectual ability, with the knowledge, skills and values necessary for self-fulfilment, and meaningful
participation in society as citizens of a free country;

• providing access to higher education;

• facilitating the transition of learners from education institutions to the workplace; and

• providing employers with a sufficient profile of a learner’s competences.

(c) The National Curriculum Statement Grades R-12 is based on the following principles:

• Social transformation: ensuring that the educational imbalances of the past are redressed, and that equal
educational opportunities are provided for all sections of the population;

• Active and critical learning: encouraging an active and critical approach to learning, rather than rote and
uncritical learning of given truths;

• High knowledge and high skills: the minimum standards of knowledge and skills to be achieved at each
grade are specified and set high, achievable standards in all subjects;

• Progression: content and context of each grade shows progression from simple to complex;

4 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
• Human rights, inclusivity, environmental and social justice: infusing the principles and practices of social and
environmental justice and human rights as defined in the Constitution of the Republic of South Africa. The
National Curriculum Statement Grades R-12 is sensitive to issues of diversity such as poverty, inequality,
race, gender, language, age, disability and other factors;

• Valuing indigenous knowledge systems: acknowledging the rich history and heritage of this country as
important contributors to nurturing the values contained in the Constitution; and

• Credibility, quality and efficiency: providing an education that is comparable in quality, breadth and depth to
those of other countries.

(d) The National Curriculum Statement Grades R-12 aims to produce learners that are able to:

• identify and solve problems and make decisions using critical and creative thinking;

• work effectively as individuals and with others as members of a team;

• organise and manage themselves and their activities responsibly and effectively;

• collect, analyse, organise and critically evaluate information;

• communicate effectively using visual, symbolic and/or language skills in various modes;

• use science and technology effectively and critically showing responsibility towards the environment and
the health of others; and

• demonstrate an understanding of the world as a set of related systems by recognising that problem solving
contexts do not exist in isolation.

(e) Inclusivity should become a central part of the organisation, planning and teaching at each school. This can
only happen if all teachers have a sound understanding of how to recognise and address barriers to learning,
and how to plan for diversity.

The key to managing inclusivity is ensuring that barriers are identified and addressed by all the relevant support
structures within the school community, including teachers, District-Based Support Teams, Institutional-Level
Support Teams, parents and Special Schools as Resource Centres. To address barriers in the classroom,
teachers should use various curriculum differentiation strategies such as those included in the Department of
Basic Education’s Guidelines for Inclusive Teaching and Learning (2010).

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DRAMATIC ARTS GRADES 10-12
1.4 Time Allocation

1.4.1 Foundation Phase

(a) The instructional time in the Foundation Phase is as follows:

SUBJECT GRADE R GRADES 1-2 GRADE 3

(HOURS) (HOURS) (HOURS)
Home Language 10 8/7 8/7
First Additional Language 2/3 3/4
Mathematics 7 7 7
Life Skills 6 6 7

• Beginning Knowledge (1) (1) (2)

- Creative Arts (2) (2) (2)

- Physical Education (2) (2) (2)

- Personal and Social Well-being (1) (1) (1)

TOTAL 23 23 25

(b) Instructional time for Grades R, 1 and 2 is 23 hours and for Grade 3 is 25 hours.

(c) Ten hours are allocated for languages in Grades R-2 and 11 hours in Grade 3. A maximum of 8 hours and a
minimum of 7 hours are allocated for Home Language and a minimum of 2 hours and a maximum of 3 hours for
Additional Language in Grades R-2. In Grade 3 a maximum of 8 hours and a minimum of 7 hours are allocated
for Home Language and a minimum of 3 hours and a maximum of 4 hours for First Additional Language.

(d) In Life Skills Beginning Knowledge is allocated 1 hour in Grades R-2 and 2 hours as indicated by the hours in
brackets for Grade 3.

1.4.2 Intermediate Phase

(a) The instructional time in the Intermediate Phase is as follows:

SUBJECT HOURS
Home Language 6
First Additional Language 5
Mathematics 6
Natural Science and Technology 3,5
Social Sciences 3
Life Skills 4

• Creative Arts (1,5)

• Physical Education (1)

• Personal and Social Well-being (1,5)

TOTAL 27,5

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 DRAMATIC ARTS GRADES 10-12
1.4.3 Senior Phase

(a) The instructional time in the Senior Phase is as follows:

SUBJECT HOURS
Home Language 5
First Additional Language 4
Mathematics 4,5
Natural Sciences 3
Social Sciences 3
Technology 2
Economic Management Sciences 2
Life Orientation 2
Creative Arts 2
TOTAL 27,5

1.4.4 Grades 10-12

(a) The instructional time in Grades 10-12 is as follows:

Subject Time allocation per week (hours)

Home Language 4.5
First Additional Language 4.5
Mathematics 4.5
Life Orientation 2
 minimum of any three subjects selected from Group B
A 12 (3x4h)
Annexure B, Tables B1-B8 of the policy document, National policy
pertaining to the programme and promotion requirements of
the National Curriculum Statement Grades R-12, subject to the
provisos stipulated in paragraph 28 of the said policy document.
TOTAL 27,5

The allocated time per week may be utilised only for the minimum required NCS subjects as specified above,
and may not be used for any additional subjects added to the list of minimum subjects. Should a learner wish
to offer additional subjects, additional time must be allocated for the offering of these subjects...

CAPS 7
DRAMATIC ARTS GRADES 10-12
SECTION 2

CURRICULUM AND ASSESSMENT POLICY FOR DRAMATIC ARTS

2.1 What is the subject Dramatic Arts?

Dramatic Arts is the study of the representation of human experience in dramatic form for an audience. This study
integrates practical experiences and competencies with the study of dramatic practices, processes and products. It
aims to promote and develop creativity as a rich, diverse and productive resource through dramatic communication,
interaction and representation. Learners explore how dramatic and theatrical elements are selected and combined
for particular purposes within diverse contexts, with a focus on the role of the dramatic arts in South Africa.

Learners acquire specific abilities to express themselves and communicate through the dramatic arts, including skills
in improvisation, vocal and physical communication, interpretation and expressiveness, the creation and presentation
of performances, and the analysis and interpretation of performance texts in context. Performance texts need not
only be literary (i.e. written) texts, and should include a range of dramatic practices, processes and products over the
three years of study. Learners should be exposed to live performances wherever possible, whether by professionals,
community practitioners or other learners.

Dramatic Arts is a powerful tool for developing skills of cooperation and collaboration. Its elements and forms of
expression are an inherent part of South African cultural and dramatic practices, processes and products, and thus
the subject helps to preserve and promote our national heritage.

Dramatic Arts prepares learners for entry into further studies for a possible career in the drama (or related arts) field,
while equipping learners with crucial life skills such as confidence, self-esteem, creativity, communication skills,
empathy, self-discipline, critical and creative thinking, leadership and collaborative teamwork which will benefit the
individual in any field or future interest.

2.2 Specific aims

Grade 10 - 12 Dramatic Arts learners aim to:

• develop the human instrument (body/voice/mind/emotions) as a medium of expression, communication and

creativity

• develop drama skills, techniques and processes to experiment with and shape dramatic elements meaningfully,
both individually and with others

• create and present dramatic products across a range of modes (lyrical, narrative, dramatic) and styles (realistic,
heightened), alone and in collaboration with others

• understand, analyse and interpret principles and elements of drama in texts and performances in context, in
South Africa and the world

• reflect on and evaluate their own and others’ dramatic processes, practices and products

• develop insight into how the dramatic arts affirm, challenge and celebrate values, cultures and identities

• engage with contemporary issues through the dramatic arts

8 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
2.3 Time allocation for Dramatic Arts in the curriculum

Dramatic Arts is allocated four teaching hours per five-day week. In addition Dramatic Arts learners are expected to
practise and rehearse at least once per week outside of school time. Dramatic Arts learners should see at least one
theatre production outside of school every year.

The weighting of the assessment of the practical and theoretical components is equal. Therefore the teacher should
devote equal teaching time, marks weighting and assessment efforts, to theoretical and practical aspects.

The knowledge, interpretative capacities and communicative capacities of learners will gradually improve from Grade
10 to Grade 12. So even if the same, or similar, work is repeated in the different years of study it should be handled
and assessed with increasing knowledge, insight and expressive capacity.

2.4 Overview of topics and weighting

The time weightings given throughout this curriculum document are simply a guideline. Teachers should be sensitive
to their learners’ development and needs, as well as to the context in which they operate, and adjust these accordingly.
Time allocations may also be adjusted to suit specific projects and topics, and to facilitate integration of learning. Note
that the content and topics recommended for each grade are minimum requirements.

Time weighting:
Broad topics
4 hours per week, plus after school practice time
1. Personal resource development 20%

30 minutes to 1 hour per week

2. Acting and performance 30%

1 - 1,5 hours per week

1 hour rehearsal time per week outside of class

Topics 1 and 2 are essentially practical in nature and should take up approximately 2 hours of contact time, with at least 1
additional hour of rehearsal or private practice taking place outside of class time per week. They should, wherever possible,
be integrated, so that learners develop skills which they can immediately put into practice in performance.
3. Performance texts in context 40%

1,5 - 2 hours per week

4. Theatre and/or film production 10%

Modular
Topics 3 and 4 are essentially theoretical in nature, although they can be experienced and understood through practical
learning experience. They should, wherever possible, be integrated so that learners understand how practical aspects of
production are brought to bear on performance texts. Approximately 2 hours of contact time is dedicated to these topics.

CAPS 9
DRAMATIC ARTS GRADES 10-12
2.5 Topics: content

Grade Overview of topics

Broad topic 1: Personal resource development (20%)
10 • Improvisation and ensemble play

• Vocal exploration and verbal communication skills

• Physical exploration and non-verbal communication skills

Note: focus is on the exploration of communication tools

11 • Improvisation, workshopping and ensemble play

• Vocal development and verbal communication skills

• Physical development and non-verbal communication skills

Note: focus is on the understanding, development, maintenance and improvement of skills for communication,
interpretation and expression
12 • Improvisation for performance

• Vocal and physical integration for performance

Note: focus is on integration of all interpretative, expressive and communication skills in the final performance
programmes
Broad topic 2 : Acting and performance (30%)
10 • Acting and reacting in individual and group work

• Basic acting tools (character, subtext, interaction, spatial awareness etc.) in scripted and unscripted work

• Interpretation of texts

• Improvisation and workshopping skills

11 • Acting a character in scripted and unscripted individual and group work

• Acting in a specific (realistic/ heightened) style in scripted and unscripted individual and group work

• Physical storytelling

• Techniques for Poor theatre

12 • Integrated performance of three contrasting pieces, including at least ONE individual and ONE group piece in
an audition or theme programme

• Demonstrating mastery of at least THREE contrasting styles and modes (lyrical, narrative and dramatic) in
pieces and/or links

• Demonstrating vocal and physical interpretation and characterisation of texts

10 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Grade Overview of topics

Broad topic 3 : Performance texts in context (40%)

Three performance texts must be studied each year, at least one from each category:

• South Africa

• The world
10 South African oral performance forms

• Indigenous performance: oral tradition, cultural performance forms

• South African workshopped theatre

• South African theatre texts

Western/ Eastern performance: early forms

• Origins of theatre in ritual

• Greek theatre and text

• A choice of medieval theatre, commedi dell’arte OR Indian theatre and text

11 South African theatre traditions

• Hybrid nature of South African theatre, drawing from diverse South African identities, traditions and histories

• Theatre with a specific agenda: such as Protest theatre, Community theatre and Workers’ theatre

• South African theatre texts

Presentational and Representational theatre

• Realist theatre and text

• Stylised theatre and text, for example at least ONE of: Elizabethan, Asian, Pan-African, Expressionism,
Contemporary American theatre
12 Contemporary South African theatre

• 1960 - 1994 theatre, and text

• Post-1994 to present day theatre, and text

Twentieth-century theatre movements, and beyond

Overview of twentieth-century movements

One of the following: Absurd theatre, Epic theatre, Postmodernism with appropriate theatre text
Broad topic 4: Theatre (and/or Film) production (10%)
10 Principles and elements of drama

Basic design elements (The visual and aural world of the play)

Staging and/or film conventions

11 The role of the designer in stage and/or film

The role of the director in stage and/or film

The production process (inclusive of marketing the production, etc.)

12 Design integration (related to final performance)

The role of the playwright (integrated into study of texts in context)

The role of the audience (including the theatre reviewer, integrated into study of texts in context)

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DRAMATIC ARTS GRADES 10-12
2.6 Progression

Progression in Dramatic Arts is found in the mentioned four broad topics that are repeated with increasing complexity
every term in each grade:

• Personal resource development

• Acting and performance

• Performance texts in context

• Theatre and/or film production

Teaching of drama skills is both cyclical and linear. It is cyclical because learners need to be exposed to the same
basic content and concepts, and practise the same skills repeatedly in different contexts to fully develop their
subject knowledge and skills. However, the teaching is also linear in that each term introduces new contexts for
the implementation of knowledge and skills, building on the knowledge that has gone before, and demanding more
detailed analysis and understanding over time.

As competence in practical drama skills increases over the three grades, so more complex approaches to the work
can be introduced. The practical approaches of practitioners of relevance to the content studied in “Performance texts
in context” are used to enrich the field of practical development and exploration.

2.7 Suggested and prescribed plays

A national circular will be distributed annually to indicate the recommended list of plays for Grades 10 and 11 and the
prescribed list of plays for Grade 12.

Grades 10 and 11

THREE plays, including one South African play, are to be studied. The dramatic movements as stipulated in the
topics, will determine which plays to select.

Grade 12

THREE plays, including two South African plays, are to be studied for the final examination. Each of the plays is to
be selected from different movements respectively as is stipulated in the topics.

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 DRAMATIC ARTS GRADES 10-12
FET Dramatic Arts: GRADE 10

Phase : FET Term 1 : Grade 10

Broad topics: Personal Resource Development, Theatre Production
Topic 1: Suggested contact time: Recommended texts/resources

Introduction to Dramatic Arts 8 hours • Dramatic Arts Grade 10 textbook/s

• Notes provided by teacher

• Glossary of Dramatic Arts terminology

• Charts, models and photos for voice theory

Content/concepts/skills:

Understand and apply basic elements of drama, theatre and voice production

Practical

• Physical icebreakers and introductory drama games

• Cooperation games

• Exercises for building confidence and creativity

• Trust exercises

• Breathing and relaxation techniques

NB: Above-mentioned exercises and techniques will continue to be used throughout the year to develop voice and body skills
in various ways.

Theory:

• Drama terminology: what is drama, what is theatre?

• Aspects of voice and speech: breathing, phonation, resonance and articulation

• Theatre etiquette: drama classroom etiquette, etiquette for theatre watching

Broad topics: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 2: Suggested contact time: Recommended texts and resources:

South African theatre: 10 hours • Dramatic Arts Grade 10 text book/s

EITHER cultural • Any published credible theatre history reference book

performance forms OR oral
• Notes provided by Teacher
tradition OR both of the
above • Dramatic and cultural forms and styles: film, visuals or live
performances

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DRAMATIC ARTS GRADES 10-12
Phase : FET Term 1 : Grade 10
Cultural performance forms Oral tradition

Content/concepts/skills: Content/concepts/skills:

Understand the origins and expressions of South African Understand the origins and expressions of South African
theatre in cultural performance forms theatre in the oral tradition

Theory: Theory:

• The role of cultural performance in the development of • The role of the oral tradition in the development of South
South African theatre African theatre

• Brief introduction to any THREE cultural performance • Traditional storytelling forms such as ntsomi,
forms, such as Umhlanga (reed dance), Isicathamiya, izinganekwane
Gumboot dancing, Toyi-toyi, Mokhibo, Umtsimba (Siswati
• South African storytelling in the modern context
wedding process), Volkspele, Cape Minstrel Carnival
• Structure of storytelling
• Structure of cultural performance
• Function of storytelling
• Function of cultural performance
• Audience reception
• Audience reception
Practical
Practical
• Experience and perform a traditional storytelling form in
• Experience and perform any ONE of the above cultural
small groups
performance forms
Broad topic: Performance Texts in Context, Theatre Production
Topic 3: Suggested contact time: Recommended texts/resources

Play Text 1: South African 10 hours • DBE Dramatic Arts Grade 10 textbook/s
theatre
• See suggested drama recommended play list for titles
of South African plays, as stipulated annually in a DBE
circular

• Published copies of this play

• Notes provided by teacher

Content/concepts/skills:

Identify, understand and apply elements of drama in a South African scripted play text

Theory:

• Background and context as relevant to play text

• What is a play?

• Principles of drama in the play text: plot, characters, dialogue, themes

• Design elements, the visual and aural world of the play such as set, costumes, music and sound effects

• Staging

Practical:

• Seen and unseen reading from selected texts:

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 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 1 : Grade 10

Broad topic: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 4: Suggested contact time: Recommended texts and resources:

Scene study 8 hours • A range of appropriate extracts from plays (could be from
Play text 1, above)

• See suggested drama play script list for titles of possible

plays
Content/concepts/skills:

Develop group performance skills in a scene from a play

Refine vocal and body performance skills

Practical

• Create and sustain dramatic characters and roles in a scene

• Use stage space appropriately

• Understand and apply acting terminologies

- Concentration

- Given circumstances such as context, situation, setting

- Subtext

- Physical and vocal characterisation

- Interaction: listening and responding

Theory

• Acting terminology related to scene work such as actor, character, dialogue, subtext

• Staging terminology related to scene work such as blocking, actor-audience relationship

Assessment:

Task 1: Performance Assessment Task 1 50 marks

Task 2: Test 50 marks

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DRAMATIC ARTS GRADES 10-12
Broad topic: Personal resource development, acting and performance, theatre production
Topic 7: Suggested contact time: Recommended texts/resources

Non-verbal communication 8 hours • Dramatic Arts Grade 10 textbook/s

(individual or group • Notes provided by teacher

performance)
• DVDs, photographs or live performances of physical
theatre, mime etc.
Content/concepts/skills

Use of the body to communicate

Use of drama and theatre forms and styles to convey non-verbal communication

Practical Work

• Aspects of physical work: posture, release of tension, physical expressiveness, gesture, movement, body language,
tableaux

• Mime

• Physical theatre techniques

• Use physical interaction where appropriate

• Application of above physical work in a short mime or physical theatre piece

Theory

• Terminology related to aspects of physical work: posture, release of tension, physical expressiveness, gesture,
movement, body language, tableaux

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 DRAMATIC ARTS GRADES 10-12

Broad topic: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 8: Suggested contact time: Recommended texts/resources

Text Interpretation (Individual 8 hours • Dramatic Arts Grade 10 textbook/s

performance)
• Published and credible voice and speech production
reference book

• Notes provided by teacher

• Range of drama texts in the form of script extracts, play

texts, prose pieces, poetry, newspaper articles etc.
Content/concepts/skills

Demonstrate continuous development of vocal skills

Apply skills to interpret an individual text

Practical work

• Select and interpret an item from a range of dramatic and cultural forms or styles for individual performance : ONE of
monologue, poetry, dramatised prose, storytelling

• Develop aspects of voice and speech: breathing, phonation, resonance and articulation and apply to text

• Develop attributes of speech: pitch, pace, pause, tone, inflection, phrasing, rhythm, metre, stress, volume, emphasis and
apply to text

• Use visualisation, sensory and emotional work to interpret text

Theory

• Attributes of speech: pitch, pace, pause, tone, inflection, phrasing, rhythm, metre, stress, volume, emphasis

-- Define attributes

-- Identify and apply above appropriately to chosen performance text

Assessment:

Task 3: Performance Assessment Task 50 marks

Task 4: Mid-year examination

• Written examination 100 marks

• Performance 100 marks

CAPS 17
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 2 : Grade 10
Broad topic: Personal Resource Development, Acting and Performance, Theatre Production
Topic 5: Suggested contact time: Recommended texts/resources

Origins of theatre and 12 hours • Approved DBE Dramatic Arts Grade 10 textbook/s
Greek theatre
• Any published credible theatre history reference book

• Notes provided by teacher

Content/concepts/skills:

Understand the origins of drama and theatre in ritual

Understand basic elements of Greek theatre

Develop vocal and physical skills

Demonstrate integration of voice and body in choral verse interpretation and performance

Theory

• Functions and elements of rituals and ceremonies as origins of theatre

• Origins of Greek Drama, including rituals of Dionysus

• Festivals and sponsorship

• Plays and playwrights

• Structure of the theatre

• Design elements, visual and aural, including use of space, devices, props, masks and costumes

• Acting style

• Functions of the chorus

• Choral verse performance techniques

Practical

• Appropriate vocal and physical warm-up exercises

• Vocal presentation skills as applied to choral verse and ensemble speaking

• Physical presentation: use of body and posture, focal point and concentration, statues/tableaux, unity of action

18 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 2 : Grade 10

Broad Performance Texts in Context, Theatre Production
Topic 6: Suggested contact time: Recommended texts/ and resources:

Play Text 2: Greek theatre 8 hours • Dramatic Arts Grade 10 textbook/s

• See suggested drama play script list for a suitable Greek play

• Notes provided by teacher

Content/concepts/skills:

Understand the elements of drama and conventions of Greek plays in a specific text or extracts from this text

Theory:

• Context and background: social, political, religious, economic, artistic, historical, theatrical - as relevant to play text.

• Principles of drama in the play text: plot, characters, dialogue, themes

• Design elements, visual and aural, including costume, masks, set pieces

• Staging

• Specific elements such as the chorus, the tragic hero, satire

Practical

Seen and unseen reading from the text

CAPS 19
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 3 : Grade 10
Broad topic: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 9: Suggested contact time: Recommended texts/resources:

Choose at least ONE of the 10 hours • Dramatic Arts Grade 10 textbook/s

following:
• See suggested drama play script list
Medieval theatre OR for titles of possible plays

commedia dell’arte OR • Notes provided by teacher

Indian theatre • DVDs or live performances of

appropriate material
Content/concepts/skills: Content/concepts/skills: Content/concepts/skills:

Medieval theatre commedia dell’arte Indian theatre

Demonstrate an understanding of Demonstrate an understanding of Demonstrate an understanding of

medieval theatre commedia dellarte Indian theatre

Develop and apply group perfor-mance Develop and apply group perfor-mance Develop and apply group perfor-mance
skills in informal class performance skills in informal class performance skills in informal class performance

Theory Theory Theory

• Context and background: social, • Context and background: social, • Context and background: social,
political, religious, economic, artistic, political, religious, economic, artistic, political, religious, economic, artistic,
historical, theatrical as relevant to historical, theatrical as relevant to historical, theatrical as relevant to
theatre movement theatre movement theatre movement

• Performances in the church • Comic elements • Origins of drama in India

• Staging conventions inside and • Actor-based theatre • Principles of rasa

outside the church: mansions, booth
• Characteristics including • Theatre space and staging
stages
improvisation, use of scenarios, stock
• Design conventions
• Types of plays: liturgical, mystery, speeches and comic routines
miracle and morality • Sanskrit theatre and popular forms
• Characters: costuming/masks
• Trade guilds Practical
• Staging
• Festivals and pageants • Short improvisation based on the
• Traveling players
story, characters and/or themes of a
• Scenic elements, including costumes,
Practical suitable Indian theatre text
special effects
• Short improvisation based on the • Use Indian dance elements such as
• Actor-audience relationship
story, characters and/or themes of a hand gestures, body language
Practical: suitable commedia dell’arte scenario
• Use appropriate technical aspects of
• Short improvisation based on the • Create and sustain dramatic Indian theatre such as costumes and
story, characters and/or themes of a characters and roles masks, puppetry
suitable Medieval Theatre text
• Use slapstick, mime
• Create and sustain dramatic
• Use stock speeches/ prepared comic
characters and roles
routines
• Use elements of mystery or morality
plays

20 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 3 : Grade 10

Broad topic: Theatre Production, Performance Texts in Context
Topic 10: Suggested contact time: Recommended texts/ resources:

Play Text 3: medieval theatre OR 8 hours • Dramatic Arts Grade 10 textbook/s

commedia dell’arte OR • Select any appropriate play text from

any ONE of the following genres:
Indian theatre OR South African theatre
medieval/commedia dell’arte /Indian
theatre/South African theatre

• See suggested drama play script list

for a title of a play

• Notes provided by teacher

Content/concepts/skills

Understand conventions of a specific type of drama in context

Theory

• Context and background relevant to the play text

• Principles of drama in the play text/performance: plot, characters, dialogue, themes

• Design elements, visual and aural world of the play, such as set, costumes, music, sound effects

• Staging

• Specific elements relevant to each dramatic form

Practical

• Unseen and seen reading of the text

Broad topic: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 11: Suggested contact time: Recommended texts/resources

South African theatre: workshopped 16 hours • Dramatic Arts Grade 10 textbook/s

theatre
• Any published credible theatre history
reference book

• Notes provided by teacher

• DVDs or live performances of

appropriate material

CAPS 21
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 3 : Grade 10
Content/concepts/skills:

Understand the workshop (play-building) process in the South African context

Workshop a short play as a group

Theory

• Communal creation

• Process of workshopping

- Idea

- Research/observation (oral/written)/reflection

- Improvisation

- Selection

- Polished improvisation

- Performance

- Recording

• Episodic nature of workshopping

• Dramatic and theatrical linking devices such as narrator figure, music, placards, posters, film

Practical

• Explore process of workshopping in order to create a performance

• Establish personal and social discipline

• Use improvisation to develop characters, structure and scenes

• Script, rehearse and polish the performance

• Develop vocal and physical communication tools for performance

• Demonstrate both group and individual performance skills in improvisation and acting

• Conduct ongoing self and peer assessment

Assessment:

Task 5: Performance Assessment Task 3 50 marks

Task 6: Test 50 marks

22 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 4 : Grade 10

Broad topic: Acting and Performance, Theatre/Film Production
Topic 12: Suggested contact time: Recommended texts or

Staging conventions or film conventions 10 hours • Dramatic Arts Grade 10 textbook/s

• Notes provided by teacher

• Illustrations of stage spaces and

audience configurations

• DVDs to illustrate film conventions

Staging conventions Film conventions

Content/concepts/skills : Content/concepts/skills :

Understand different theatre staging conventions and spaces and how these affect Understand different film techniques
performance and conventions and how these affect
performance
Use performance spaces and staging conventions effectively
Use film techniques and conventions
Theory
effectively
• Stage terminology such as up-stage, centre stage, down stage, stage left, stage
Theory:
right, prompt, opposite prompt
• Film terminology such as close-
• Theatre spaces: architecture and audience configurations
up, medium shot, long shot, pan,
Practical dissolve
Apply staging theory to a scene being prepared for performance • Film conventions such as flashback,
fast forward, voice over, split screen

Practical

Apply film theory to a scene being

prepared for performance
Broad topic: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 13: Suggested contact time: Recommended texts/ and resources:

Group performance 12 hours • Dramatic Arts Grade 10 textbook/s

• Notes provided by teacher

• Suitable texts for performance

Content/concepts/skills:

Create an integrated group performance in which each individual performer presents three items some of which may be work
from previous terms

Practical

• Select, explore and present three items/pieces from a range of dramatic and cultural forms and styles; may include work
from previous terms

• Improvise and creatively use basic technical elements to create an effective visual/aural environment for group
performance

Theory

• Understand design and technical elements: scenery, properties, lighting, sound, costume, make-up, special effects, and
how to improvise these

• Revise acting and staging terminology

CAPS 23
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 4 : Grade 10
Broad topic: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 14: Suggested contact time: Recommended texts/resources:

Revision 8 hours • Approved DBE Dramatic Arts Grade

10 text book/s

• Notes provided by teacher

• Additional LTSM by DBE (subject

advisors)

• All additional sources selected for

relevant topics
Content/concepts/skills:

Theory and practical

• Topic 1: Introduction to Dramatic Arts

• Topic 2: South African theatre: cultural performance forms OR oral tradition

• Topic 3: Play Text 1: South African theatre

• Topic 4: Scene study (group)

• Topic 5: Origins of theatre and Greek theatre

• Topic 6: Play Text 2: Greek theatre

• Topic 7: Non-verbal communication (individual or group)

• Topic 8: Text interpretation (individual)

• Topic 9: Choice of medieval/commedia dell’arte/Indian theatre

• Topic 10: Play Text 3: Choice of medieval/commedia dell’arte/Indian/South African theatre

• Topic 11: South African theatre: Introduction to workshopped theatre

• Topic 12: Staging and/or film conventions

• Topic 13: Group performance

Assessment:

Task 7: End-of-year exam

• Written Examination 150 marks

• Performance 150 marks

24 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
DRAMATIC ARTS: GRADE 11

Phase : FET Term 1 : Grade 11

Broad topics: Personal resource development , acting and performance, performance texts in context, theatre
(and/or film) production
Topic 1: Suggested contact time: Recommended texts/resources

Realism and Stanislavski 18 hours • Dramatic Arts Grade 11 textbook/s

• Notes provided by teacher

• Any published and credible theatre

history reference book

• Extracts from realist plays for

practical work

• DVDs or live performances of

suitable material
Content/concepts/skills:

Understand the rise of realism, its conventions and impact on drama

Understand Stanislavski’s unique contribution to theatre

Apply the Stanislavski system to practical work

Theory

• Definition of realism

• Background and context: social, political, religious, economic, artistic, historical, theatrical as relevant to emergence of
realism

• The well-made play

• Themes, characters and issues

• Staging conventions: box set, the rise of the director

• Playwrights of the period, as well as more recent Realist playwrights

• Stanislavski as practitioner

• Stanislavski’s acting techniques such as magic if, concentration, given circumstances, units and objectives, emotion
memory, tempo-rhythm, relaxation

• Stanislavski’s external characterisation techniques such as posture, age, physical presence, clothing/props

Practical

• Demonstrate in exercises understanding of Stanislavski’s techniques

• Choose an extract from any Realist play text to perform in a group of two or more

• Analyse and interpret the character based on an understanding of the entire text

• Apply skills of concentration, listening and interaction in rehearsal and performance

• Apply Stanislavski`s acting techniques to performance

CAPS 25
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 1 : Grade 11
Broad topic: Performance Texts in Context, Theatre Production
Topic 2: Suggested contact time: Recommended texts/resources

Play Text 1: Realist text 8 hours • Any suitable Realist play text up to
the present day

• Dramatic Arts Grade 11 textbook/s

• Notes provided by teacher

Content/concepts/skills :

Understand and analyse a Realist text and its context

Consider the text in performance

Theory

• Background and context: socio-political, religious, economic, artistic, historical, theatrical, as relevant to particular play

• Principles of drama: plot/structure, dialogue, character, themes in studied play text

• Design elements: visual and aural world of the play such as setting, costumes, sound

• Staging of text: direction/design

• Audience reception: past and present

Practical

• Seen and unseen reading for performance

• Analysis

• Discussion

26 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 1 : Grade 11

Broad topics: Developing personal resources, acting and performance
Topic 3: Suggested contact time Recommended/resources

Voice and Body Work 10 hours • Dramatic Arts Grade 11 textbook/s

• Notes provided by teacher

• Texts on voice production and

speech and physical body
development

• Charts and models for voice/speech

theory
Content/concepts/skills:

Understand the use and production of the human voice

Develop vocal and physical technique for in-depth exploration of characterisation

Theory

• Revise and increase knowledge of: breathing, relaxation, phonation, resonance, articulation, and projection

• Demonstrate understanding of exercises in above aspects of voice and speech production

• Use attributes of speech for effective communication such as pace, pause, inflection, volume, pitch, emphasis,

• tone

• Vocal characterisation such as rhythm, accent, attitude

• Neutral posture (Alexander technique)

• Physical characterisation such as body language, posture

Practical

• Warm-up activities for focused development of voice/speech and body

• Prepare and present scene work from Topic 1, using physical and vocal techniques to characterise
Assessment:

Task 1: Performance Assessment Task 1 50 marks

Task 2: Test 50 marks

CAPS 27
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 2 : Grade 11
Broad topics: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 4: Suggested contact time Recommended texts/resources

South African theatre 20 hours • Dramatic Arts Grade 11 textbook/s

• Notes provided by teacher

• Any published and credible theatre

history reference book

• DVD or live performance of South

African theatre with an agenda
Content/concepts/skills:

Understand the hybrid nature of South African theatre

Analyse the specific functions that theatre serves in society

Perform a workshopped scene, based on an issue of concern

Theory

• An overview of South African theatre up to 1994, including:

- The diverse traditions, identities and heritages in the development of indigenous and imported theatre styles

- South African theatre spaces (traditional, western, township, state-controlled, festivals) and how these contributed to the
kind of work produced

- Workshopping as a process of theatre making that suited specific South African conditions (revise from Grade 10)

• South African theatre with a specific agenda:

- Protest/Resistance theatre

- Community theatre

- Workers’ theatre

- Educational theatre

- Theatre for Conservation

- Theatre for Reconciliation

- Satirical Revue

Practical

• Research a form of South African theatre with a specific agenda and present research in the form of a poster, essay, radio
programme or TV documentary

• Develop group dynamics for workshopped theatre

• Prepare a short, original scene/play, highlighting environmental, educational or social issues, using workshopped
techniques

• Consider and follow the production process (inclusive of all stages, including marketing to an audience) to bring this
original scene/play to performance
Broad topics: Performance Texts in Context, Theatre Production

28 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 2 : Grade 11

Topic 5: Suggested contact time Recommended texts/resources

Play Text 2: 8 hours • A South African play with origins in

workshopping and improvisation/
South African theatre text
storytelling, or a scripted play

• DVD or live performance of

workshopped text
Content/concepts/skills:

Understand the communal theatre making process in South Africa

Understand and analyse a South African text in context

Theory

• Revision of the workshopping process (phases and aims) as necessary

• Background and context: social, political, religious, economic, artistic, historical, theatrical, as relevant to the play to be
studied

• Principles of drama: plot, character, dialogue, theme in the selected play text

• Design elements, the visual and aural world of the play, including setting, costume, sound

• Style/genre

• Staging and performance conventions

• Audience reception and critical response: past and present

Practical

• Seen and unseen reading from the play text

• Analysis

• Discussion

CAPS 29
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 2 : Grade 11
Broad topics: Developing personal resources, acting and performance
Topic 6: Suggested contact time Recommended texts/resources

Physical theatre performance 8 hours • Dramatic Arts Grade 11 textbook/s

• Notes provided by teacher

• DVD or live performance of a

physical theatre piece
Content/concepts/skills :

Develop movement skills using basic elements of Laban’s Movement Analysis

Apply physical skills to group performance

Practical

• Prepare body for movement : warm-up activities

• Group trust, focus and concentration exercises

• Explore body attitude using Laban’s effort actions

• Develop a movement or physical theatre piece in a group using Laban’s techniques

NOTE: The movement/physical theatre piece may be part of the workshopped play mentioned in Topic 4 above.

Theory

Physical skills - Laban’s Movement Analysis theory

Assessment:

Task 3: Performance Assessment Task 2 50 marks

Task 4: Mid-year Examination

• Written Examination 150 marks

• Performance 150 marks

30 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 3 : Grade 11

Broad topics: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 7: Suggested contact time Recommended texts/resources

Stylised theatre 16 hours • Dramatic Arts Grade 11 textbook/s

At least ONE of the following: • Notes provided by teacher

Elizabethan theatre or • Any published and credible theatre

history reference book
Asian (Japanese/ Chinese) theatre or
• Extracts from texts for practical work
Pan-African theatre or contemporary
American theatre or • DVDs or live performances of
suitable material.
Expressionist theatre
Content/concepts/skills:

Understand and analyse a stylised form of theatre or a theatre movement within a particular society.

Use stylised performance techniques within an individual performance.

Theory

• Background and context: social, political, religious, economic, artistic, historical, theatrical as relevant to chosen form of
theatre

• Characteristics of either Elizabethan, Expressionist, Asian, American or African theatre

• Theatrical and performance techniques used

• Subject matter of plays/performance

• Design elements: the visual and aural world of the play such as set, costumes, props, make-up, sound, lighting

• Playwrights applicable to chosen style

Practical

• Apply stylised performance techniques to any suitable text for individual performance

• Consider actor-audience relationship in stylised work

CAPS 31
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 3 : Grade 11
Broad topics: Performance Texts in Context, Theatre Production
Topic 8: Suggested contact time Recommended texts/resources

Play Text 3: 14 hours Any suitable text from any ONE of the
following Drama Movements:
Stylised Play text
• Elizabethan theatre

• Asian (Japanese/Chinese) theatre

• Pan-African theatre

• Contemporary American theatre

• Expressionism
Content/concepts/skills

Understand and analyse the principles of stylisation as an artistic and theatrical choice.

Understand and analyse the text as an example of the Drama Movement studied in Topic 7.

Theory

• Background and context: social, political, religious, economic, artistic, historical, theatrical, as relevant to the chosen play
text

• Principles of drama in the chosen play text such as plot, character, dialogue, themes

• Design elements, the visual and aural world of the play, including set, costume, props, make-up, sound, lighting

• Staging and performance conventions

• Audience reception and critical response: past and present

Practical

• Seen and unseen reading from the play text

• Analysis

• Discussion

32 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 3 : Grade 11

Broad topics: Performance texts in context; Theatre/Film Production
Topic 9: Suggested contact time Recommended texts/resources

Director/designer in theatre or film 6 hours • Dramatic Arts Grade 11 textbook/s

• Notes provided by teacher

• DVDs or live performances of

suitable material to illustrate
directorial or design elements in
theatre or film
Content/concepts/skills:

Understand the role and function of the director and the designer in theatre and/or film

Theory

• The role of the director in theatre and/or film

• The role of the designer in theatre and/or film

Practical

Apply elements and techniques of the director/designer to one of the plays studied during the year
Assessment:

Task 5: Performance Assessment Task 50 marks

Task 6: Test 50 marks

CAPS 33
DRAMATIC ARTS GRADES 10-12
Phase: FET Term 4 Grade 11
Broad topics: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 10: Suggested contact time Recommended texts/resources

Poor theatre 12 hours • Dramatic Arts Grade 11 textbook/s

• Notes provided by teacher

• Any published, credible theatre

history reference book

• Any suitable play text for

performance as Poor theatre

• DVDs or live performances of

suitable material
Content/concepts/skills

Understand the concept of “Poor theatre”

Apply Poor theatre techniques to development of a group piece

Understand the role of Grotowski as a theatre innovator

Understand the relevance of Poor theatre techniques within the South African context.

Theory

• Background and context: social, political, religious, economic, artistic, historical, theatrical

• Characteristics of Poor theatre

• Performance style and conventions

• Design elements, the visual and aural world of the performance, including setting, costume, music, sound effects

• Theatre Practitioners: Grotowski and selected South African practitioners

Practical

• Apply vocal and body skills for Poor theatre

• Group item: adapt a known text to be performed using Poor theatre techniques.
Broad topics: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 11: Suggested contact time Recommended texts/resources

Preparation of practical work 10 hours • Dramatic Arts Grade 11 textbook/s

• Notes provided by teacher

Content/concepts/skills:

Integrate voice/ body skills

Apply theatre performance skills in three contrasting performance pieces (two group items and one individual item). Only one
of these items needs to be a new work.

Practical

• Develop performance: focus on characterisation, relationship with other characters and the audience

• Apply voice and body training to all three pieces

• Develop group dynamics for performance

• Give consideration to design - improvise and use visual and aural elements

34 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase: FET Term 4 Grade 11

Broad topics: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 12: Suggested contact time Recommended texts/resources

Revision 8 hours • Dramatic Arts Grade 11 textbook/s

• Notes provided by teacher

• Additional LSTM Supplied by DBE

(Subject Advisors)
Content/concepts/skills:

Revise theoretical and practical content/concepts and skills acquired during the year

Theory and Practical

• Topic 1: Realism and Stanislavski

• Topic 2: Play Text 1: Realist text

• Topic 3: Voice and Body Work

• Topic 4: South African theatre

• Topic 5: Play Text 2: South African theatre text

• Topic 6: Physical theatre work

• Topic 7: Stylised theatre

• Topic 8: Play Text 3: Stylised theatre text

• Topic 9: The director/designer in theatre and/or film

• Topic 10: Poor theatre

• Topic 11: Preparation of practical work

• Topic 12: Revision

Assessment:

Task 7: End-of-year exam

• Written Examination 150 marks

• Performance 150 marks

CAPS 35
DRAMATIC ARTS GRADES 10-12
GRADE 12

Phase : FET Term 1 :Grade 12

Broad topic: Performance Texts in Context; Theatre Production
Topic 1: Suggested contact time Recommended texts/resources

20th century ‘isms’ 6 hours • Dramatic Arts Grade 12 textbook/s

• Notes provided by teacher

• Any published and credible theatre

history reference book

• Art works specific to20th-century art

movements

• DVDs or live performances of

suitable material
Content/concepts/skills:

Understand the background and context of modern drama

Evaluate how social, historical, political and economic contexts, and events such as world wars, inform theatre

Theory

• Review basic elements and principles of realism for purposes of comparison with the anti-realism movements

Study any THREE of the following movements, as relevant to the theatre movements to be studied in Topics 3/4:

• Symbolism

• Expressionism (if not done in Grade 11)

• Futurism and constructivism

• Dadaism

• Surrealism

• Existentialism

-- practitioners associated with the above movements

-- examples of new thinking in the theatre - Craig and Appia as designers

Practical

• Informally, in class, improvise or perform a short scene using the acting principles of any of the ‘isms’

Note to teachers: This is an overview of the various movements in art and philosophy in the twentieth century, linked to
different movements in the theatre.

36 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 1 :Grade 12

Broad topics: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 2: Suggested contact time Recommended texts/resources

Theme/Audition/ Technical Programme: 10 hours • Dramatic Arts Grade 12 textbook/s

group performance
• Notes provided by teacher

• Any published and credible voice/

speech and body work reference
book

• Performance examination process

document
Content/concepts/skills:

Refine voice and body skills

Apply interpretative skills and performance techniques

Develop group dynamics and ensemble work

Demonstrate developing mastery of different styles and modes of performance

Practical

• Choose theme (if relevant)

• Choose items based on a theme (if relevant) OR choose items to demonstrate personal versatility and variety (audition
programme)

• Possible choices of group piece include scripted scene, choral verse extract, group dramatised prose, physical theatre,
musical theatre extract, original film extract

• Develop, apply and refine vocal and physical skills to group piece

• Apply appropriate and relevant acting, performance and ensemble skills to group piece

• Apply processes involved in chosen group performance

• Use stage space creatively: the body in relation to other bodies, the space around the body, stage space and the audience

• Develop vocal and physical interpretation and/or characterisation

• Develop emotional connection and visualisation techniques

• Consider relationship to listener and audience awareness

• Locate the piece within the theme or audition programme

Theory

• Understand the nature and process of a theme/audition/technical programme

• Understand and apply:

- attributes of voice and speech

- attributes of movement (Laban’s Movement Analysis or Lessac’s technique to ensure basic movement vocabulary)

- verbal and non-verbal communication skills

- acting and staging terminology

- Reflect on and evaluate performance work

Note to teachers: This is the beginning of the process of developing the practical work for the final examination. Work is
ongoing and discretion should be used in deciding when to make this work the focus of teaching.

CAPS 37
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 1 :Grade 12
Broad topic: Performance Texts n Context; Theatre Production
CHOOSE ONE OF THE FOLLOWING: ABSURD, EPIC OR POSTMODERN THEATRE

Each has been listed separately as Topic 3

Topic 3 Suggested contact time Recommended texts/resources

Absurd theatre 10 hours • Dramatic Arts Grade 12 textbook/s

• Notes provided by teacher

• The Theatre of the Absurd ~ Martin

Esslin

• Excerpts from Absurd theatre dramas

• DVDs or live performances of plays

Content/concepts/skills

Understand Absurd theatre as anti-realism

Analyse the conventions of this dramatic movement

Demonstrate knowledge of playwrights associated with the movement

Theory

• Background and context: social, political, religious, economic, artistic, historical, theatrical as relevant to theatre movement

• History, origins and influences of/on Absurd theatre

• Common aims of playwrights

• Characteristics: structure and form, language, characters, themes

• Stylistic elements such as: design, setting, costume, lighting, use of language, characterisation

• Staging: Performance space, acting style and movement

• Role of the director/designer in the interpretation of Absurd theatre

• Difference between Realism and Absurdism

• The influence of Absurdism

Practical

• Informal scene work from selected Absurd play excerpts to demonstrate principles

38 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 1 :Grade 12

Broad topic: Performance Texts in Context; Theatre Production
Topic 3: Suggested contact time Recommended texts/resources

Epic theatre 10 hours • Dramatic Arts Grade 12 textbook/s

• Notes provided by teacher

• Excerpts from Brecht play text/s

• DVDs or live performances of

suitable plays
Content/Concepts/Skills

Understand Epic theatre as anti-realism

Analyse the conventions of this dramatic movement

Evaluate Brecht as a theatre innovator

Theory

• Background and context: social, political, religious, economic, artistic, historical, theatrical as relevant to theatre movement

• History, origins and influences of/on Epic theatre

• Aims of playwright

• Characteristics: structure and form, language, characters, themes

• Stylistic elements such as: design, setting, costume, lighting, use of language, characterisation

• Staging: performance space, acting style and movement

• Three main concepts: Epic, Historification, Alienation

• Role of the director/designer in the interpretation of Epic theatre

• Difference between Dramatic theatre and Epic theatre

• The influence of Epic theatre

Practical

• Informal scene work from selected Epic theatre play excerpts to demonstrate principles

CAPS 39
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 1 :Grade 12
Broad topic: Performance Texts in Context, Theatre Production
Topic 3: Suggested contact time Recommended texts/resources

Post-modern theatre 10 hours • Dramatic Arts Grade 12 textbook/s

• Notes provided by teacher

• Excerpts from Post-modernist plays

• DVDs or live performances of

suitable plays or films
Content/Concepts/Skills:

Examine the Post-modern theatre movement

Demonstrate knowledge of playwrights associated with the movement

Identify key features and conventions of the movement

Theory

• Background and context: social, political, religious, economic, artistic, historical and theatrical as relevant to theatre
movement

• Characteristics: structure and form, language, characters and themes

• Stylistic elements such as: design, setting, costume, lighting, use of language, and characterisation

• Staging: performance space, acting style and movement

• Difference between Realism and Postmodern theatre

• Notable playwrights, directors and theatre makers (local and international)

• The influence of Post-modernist theatre

Practical

• View excerpts from movies or read extracts from plays

40 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 1 :Grade 12

Broad topic: Performance Texts in Context, Theatre Production
Topic 4: Suggested contact time Recommended texts/resources

Prescribed Play Text 1: 20th- century 10 hours • Dramatic Arts Grade 12 textbook/s
theatre movements (EITHER Absurd,
• Published prescribed play text
Epic OR Post-modern)
• Notes provided by teacher
Content/concepts/skills:

Analyse and evaluate the play text in relation to its relevant dramatic movement

Theory

• Background and context: socio, political, religious, economic, artistic, historical, theatrical, as relevant to chosen play text

• Background to the playwright/script developers

• Principles of drama such as: plot/characters, dialogue, themes

• Theatrical and dramatic techniques and conventions

• The visual and aural world of the play such as staging, setting, costumes, music

• The text as an ideal example of Absurdist/Epic/Post-modern theatre

• Audience reception and critical response: original audience and present

Practical

• Seen and unseen reading from the text

Assessment:

Task 1: Performance Assessment Task 1 50 marks

Task 2: Test 50 marks

CAPS 41
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 2 : Grade 12
Broad topic: Performance Texts in Context; Theatre Production
Topic 5: Suggested contact time Recommended texts/resources:

Prescribed play text 2: South African 10 hours • Dramatic Arts Grade 12 textbook/s

text (1960 -1994) • Published prescribed play text

• Notes provided by teacher

• DVDs or live performances of plays

Content/concepts/skills:

Analyse and evaluate the South African play text in context

NOTE: Reference may be made to Grade 11 work as background to text being studied

Theory

• Background/context: social, political, religious, economic, artistic, historical, theatrical, as relevant to chosen play text

• Background of the playwright/script developers

• Principles of Drama in chosen play text such as: plot, dialogue, character, theme

• Style/genre of play text

• Staging/setting

• Techniques and conventions

• Audience reception and critical response (by original audience and today)

Practical

• Unseen and seen reading from the text

Broad topics: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 2 continued: Suggested contact time Recommended texts/resources

Theme/Audition/Technical Programme: 16 hours • Dramatic Arts Grade 12 textbook/s

individual and group performance • Notes provided by teacher

• Selection of a range of dramatic and

cultural forms and styles

• Performance Examination process

document.
Content/concepts/skills:

Practical

• Refine voice and body skills

• Apply interpretative skills and performance techniques to second piece, which should be an individual piece based on a
text such as monologue, poem, storytelling, dramatised prose, musical theatre extract

• Develop links (dramatic devices used to creatively fuse all the items), if the programme is a theme programme.

• Begin work on third piece, which may be individual or group, such as a movement piece, physical theatre, monologue,
scene, poetry, storytelling, dramatised prose, musical theatre extract

• Demonstrate development and mastery of different dramatic and cultural forms and styles

• See Topic 2 above for detail

Broad topic: Performance Texts in Context; Theatre Production

42 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 2 : Grade 12

Topic 6: Suggested contact time: Recommended texts/resources

South African contemporary theatre 8 hours • Dramatic Arts Grade 12 textbooks

(post-1994)
• Notes provided by teacher

• Excerpts from published

contemporary South African plays

• DVDs or live performances of

appropriate South African plays
Content/concepts/skills:

Examine South African theatre post-apartheid

Demonstrate knowledge of important contemporary playwrights and groups

Identify key features and conventions of contemporary theatre in South Africa

Understand the purposes of theatre in society

Theory

• Background/context: social, political, religious, economic, artistic, historical (post-1994)

• Themes and concerns of contemporary writers such as:

- Theatre for reconciliation

- Theatre for identity

- Theatre for development

- Theatre as social commentary

- Theatre as political commentary

• Examples of playwrights, directors and theatre groups

• Influence of movements and styles such as satire, physical theatre, rituals, one-person performance, visual theatre,
puppetry, community theatre

• Key features and directions in contemporary theatre

• Role of the director/ theatre-maker/designer

• Audience reception and critical response to text

Assessment:

Task 3: Performance Assessment Task 2 50 marks

Task 4: Mid-year Examination

• Written Examination 150 marks

• Performance 150 marks

CAPS 43
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 3 : Grade 12
Broad topic: Performance Texts in Context; Theatre Production
Topic 7: Suggested contact time Recommended texts/resources

Prescribed Play Text 3: South African 10 hours • Dramatic Arts Grade 12 textbook/s
Contemporary theatre (post-1994)
• Notes provided by teacher

• Published prescribed play text

Content/concepts/skills:

Analyse and evaluate the text in terms of:

Theory

• Background/context: socio-political, religious, economic, artistic, historical and, theatrical, as relevant to chosen play text

• Background to the playwright/script developers

• Principles of Drama (plot, character, dialogue, theme) in chosen play text

• Style/genre of play text

• Staging/setting

• Conventions and techniques

• Reception and critical response to text

Practical

Unseen and seen reading from the text

44 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

Phase : FET Term 3 : Grade 12

Broad topics: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 2 continued: Suggested contact time Recommended texts/resources

Theme/Audition/Technical Programme: 14 hours • Dramatic Arts Grade 12 textbook/s

integrated performance
• Notes provided by teacher

• Selection of a range of dramatic and

cultural forms and styles

• Excerpts from published

contemporary South African plays

• Performance examination process

document
Content/concepts/skills:

Practical

• Apply interpretative skills and performance techniques to all three pieces

• Demonstrate development towards mastery of different dramatic and cultural forms and styles of performance

• Work in collaboration or individually to create an integrated performance

• Apply design elements to programme as appropriate

See Topic 2 above for detail.

Note to teachers: This is the culmination and integration of all practical work covered in Grades 10-12.
Assessment:

Task 5: Performance Assessment Task 50 marks

Task 6: Test 50 marks

Task 7: Trial Examination

• Written Examination 150 marks

• Practical Examination 150 marks

CAPS 45
DRAMATIC ARTS GRADES 10-12
Phase : FET Term 4 : Grade 12
Broad topics: Personal resource development, acting and performance, performance texts in context, theatre
(and/or film) production
Topic 8: Suggested contact time Recommended texts/resources

Revision and consolidation of year’s 12 hours • Dramatic Arts Grade 12 textbook/s

work
• Notes provided by teacher

• Published prescribed play text

Content/concepts/skills:

Three play texts (two South African, one World):

• Structure, plot, theme, character, characterisation, relationships, use of language and style in chosen plays

• Staging techniques, set, use of technical devices, costume/make-up

• Intent of play, socio-economic/historical context of the play, reception of the play in original context and today

• Specific devices and conventions related to the genre of the play

Theatre History

• “Isms”

• Choice of either Absurdism or Epic theatre or Post-modern theatre

• Poor theatre (from Grade 11)

• South African theatre (pre- and post-apartheid)

These topics in terms of:

• Aims of the theatre movements

• Background and context (including philosophy) that informs the genre

• Dramatic/staging techniques and other devices used in the genre, including design elements

• Stage types used in the genre

• Terminology and main concepts of the genre

• Examples of plays in each genre

• Playwrights and practitioners

• Relationship between the genres: differences, similarities, developments from and reactions to them

• Evaluation of genre: effectiveness and relevance to theatre and society today

Practical

• Vocal technique, including posture, breathing, phonation, resonance, articulation and projection

• Verbal attributes of communication: pace, pause, rhythm, emphasis, pitch, intonation, volume and tone

• Non-verbal attributes of communication: gesture, posture, movement, facial expression and body language

• Interpretive and analytical skills to create mood, character and meaning in performance

• Exercises to improve and develop performance skills, including group dynamics and ensemble performance

• Knowledge of processes and requirements involved in various dramatic presentations

• Understanding and application of specific terminology used in dramatic performances

Note to teachers: Allocation of time in term 4 is dependent on when and how final practical and formal assessments are
scheduled.

46 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
SECTION 3

ASSESSMENT

3.1 Introduction

Assessment is a continuous, planned process of identifying, gathering and interpreting information about the
performance of learners, using various methods of assessment. This involves four steps: generating and collecting
evidence of achievement; evaluating this evidence; recording the findings and using this information to understand
and thereby assist the learner’s development in order to improve the process of learning and teaching.

Assessment involves activities that are undertaken throughout the year. In Grades 10 - 12 assessment should be
both informal (Assessment for Learning) and formal (Assessment of Learning). In both cases regular feedback
should be provided to learners to enhance the learning experience.

3.2 Informal and daily assessment

Assessment for learning has the purpose of continuously collecting information on a learner’s achievement that can
be used to improve their learning.

Informal assessment is the daily monitoring of learners’ progress. This is done through observations, discussions,
debates, practical demonstrations, learner-teacher conferences, informal classroom interactions, questions and
answers, short written activities completed during the lesson such as writing in-role, creative writing, informal
classroom performances, case studies, etc. Informal assessment may be as simple as stopping during the lesson
to observe learners or to discuss with learners how learning is progressing. Informal assessment can be used
to develop learners’ knowledge, skills and values, assess learners’ strengths and weaknesses, provide additional
support to learners, revisit or revise certain sections of the curriculum and motivate and encourage learners. It should
also be used to inform planning for teaching, but need not be recorded. It should not be seen as separate from
learning activities taking place in the classroom. Learners or teachers can mark these assessment tasks.

Self-assessment and peer assessment actively involve learners in assessment. This is important as it allows learners
to learn from and reflect on their own performance. The results of the informal daily assessment tasks are not
formally recorded unless the teacher wishes to do so. In such instances, a simple checklist may be used to record
this assessment. However, teachers may use the learners’ performance in these assessment tasks to provide verbal
or written feedback to learners, the School Management Team and parents. This is particularly important if barriers
to learning or poor levels of participation are encountered. The results of daily assessment tasks are not taken into
account for promotion and certification purposes.

3.3 Formal Assessment

All assessment tasks that make up a formal programme of assessment for the year are regarded as Formal
Assessment. Formal assessment tasks are marked and formally recorded by the teacher for progression and
certification purposes. All formal assessment tasks are subject to moderation for the purpose of quality assurance
and to ensure that appropriate standards are maintained.

Formal Assessment provides teachers with a systematic way of evaluating how well learners are progressing in a
grade and in a particular subject. Examples of formal assessments include tests, examinations, the Performance

CAPS 47
DRAMATIC ARTS GRADES 10-12
Assessment Tasks (PAT), which could include essays, research tasks, assignments, projects, oral presentations,
demonstrations and performances. Formal assessment tasks form part of a year-long formal Programme of
Assessment in each grade and subject.

The formal assessment requirements for Dramatic Arts are as follows:

• In Grades 10 and 11, six formal assessment tasks must be completed during the school year. These six
formal assessment tasks make up 25% of the total mark for Dramatic Arts. The six formal assessment tasks
consist of the following:

• Two written controlled tests to be written during terms 1 and 3

• One mid-year examination that includes a performance examination and a written examination

• Three performance assessment tasks (PATs) to be completed during the school year. Each of the three PATs
contains TWO sections: a preparation section which is a theoretical, written component and a performance
section which is a practical component.

• The end-of-year examination includes two parts: a performance examination (150 marks) and a written
examination (150 marks). Together these two parts make up the remaining 75%.

• In Grades 10 and 11 all assessment is internal.

• In Grade 12, seven formal assessment tasks must be completed during the school year. These seven formal
assessment tasks make up 25% of the total mark for Dramatic Arts. The seven formal assessment tasks
consist of the following:

• Two written controlled tests are to be written during terms 1 and 3;

• One mid-year examination, as well as a trial (September) examination that includes a performance examination
and a written examination; and

• Three performance assessment tasks (PATs) to be completed during the year. Each of the three PATs contains
TWO sections: a preparation section which is a theoretical, written component and a performance section
which is a practical component.

• The end-of-year examination includes two parts: a performance examination (150 marks) and a written
examination (150 marks). Together these two parts make up the remaining 75% in all grades.

• In Grade 12 the formal assessment (25%) is internally set and marked but externally moderated. The end-of-
the year assessment (75%) is externally set, marked and moderated.

48 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

ANNUAL PROGRAMME OF ASSESSMENT GRADES 10 AND 11

Term 1 Term 2 Term 3 Term 4
Task 1: Task 3: Task 5:

(PAT) (Group) (50) (PAT) (Individual) (50) (PAT) (Group) (50)

• Preparation (25) • Preparation (25) • Preparation (25)

• Performance (25) • Performance (25) • Performance (25)

Task 7:
Task 2: Task 4: Task 6:
Grade 10 and 11
Test (50) Grade 10 Test (50)
End-of-year examination
Mid-year examination (200) (300)
• Written examination (100) • Written examination (150)
• Performance examination • Performance (150)
(100)
Grade 11

Mid-year examination (300)

• Written examination (150)

• Performance examination
(150)

ANNUAL PROGRAMME OF ASSESSMENT GRADE 12

Term 1 Term 2 Term 3 Term 4
Task 1: Task 3: Task 5:

(PAT) (Group) (50) (PAT) (Individual) (50) (PAT) (Combined individual External examination (300)
and
• Preparation (25) • Preparation (25) • Written examination (150)
group) (50)
• Performance (25) • Performance (25) • Performance (150)
• Preparation (25)

• Performance (25)
Task 2: Task 4: Task 6:

Test (50) Mid-year examination (300) Test (50)

• Written examination (150)

• Performance examination
(150)
Task 7:

Trial examination (300)

• Written examination (150)

• Performance examination
(150)

CAPS 49
DRAMATIC ARTS GRADES 10-12
The forms of assessment used should be appropriate for the age and developmental level of the learner. The design
of these tasks should cover the content and skills of the subject and include a variety of tasks designed to achieve
the objectives of the subject.

Formal assessments must cater for a range of cognitive levels and abilities of learners as shown below:

Table 1

Cognitive level Percentage

Lower order: knowledge -
30
recalling, recognising, listing, identifying, describing, naming, finding
Middle order: comprehension and application -

explaining, interpreting, using information in another familiar situation, applying, exemplifying, 40

discussing
Higher order: analysis, evaluation and synthesis - justifying, comparing, organising,
critiquing, exploring, producing, creating, planning, integrating, structuring, arranging, validating, 30
concluding, devising

3.4 Programme of assessment (PAT)

The Programme of Assessment is designed to spread formal assessment tasks in all subjects in a school throughout
a term.

3.4.1 Types of formal assessment for Dramatic Arts

PATs (Performance Assessment Tasks) for Dramatic Arts

General: The requirements of the subject Dramatic Arts should be considered when planning and implementing
the PATs. In each year, one individual performance, one group performance using verbal and non-verbal
communication and one physical-based group performance should be completed as a PAT. Different performance
forms and styles should be covered in the PATs. The PATs will make up 50 marks each. Each of the three PATs
contains TWO sections:

Section 1: Preparation (25 marks), which is a theoretical, written component.

The focus of this component is to develop learners’ critical, analytical and thinking skills. The written preparation should
comprise of planning, preparation, implementation, reflection and record keeping. This takes the form of an essay,
research task or assignment to prepare for the performance component of the PAT. Learners should demonstrate
cognitive and conceptual understanding of the skills, knowledge and values required for the performance component.

The aims of the written work are to:

• allow learners to work through a process of academic preparation for the performance task;

• deepen and consolidate the learners' understanding of classroom teaching;

• instill the importance of integrating theory and practice in the subject Dramatic Arts; and

• prepare learners for the theoretical demands of the mid-year, end-of-year and external written examinations of
the National Senior Certificate where learners are required to write a theoretical paper.

50 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
Section 2: Performance (25 marks), which is a practical component.

The focus of this component is to develop the practical application of knowledge, skills and attitudes. It prepares
the learners for the practical demands of the mid-year, end-of-year and external performance examinations
(Grade 12) where learners are required to do either a theme programme, an audition programme or a technical
programme.

See the table below for more detail on both the preparation/theoretical and the performance components of
the PATs

Preparation for theoretical component of the PATs

Performance Assessment Performance Assessment Performance Assessment
Task Task Task
For the purpose of Preparation: Preparation: Preparation:
standardisation as well as
Essay. Research. Assignment (own choice
the incremental development
such as journal, collage)
of learners’ theoretical and Learners use the theoretical Learners collect additional
cognitive development, support material given outside source material to Learners discuss their
the following theoretical to them by the teacher do independent research to planning and preparation for
components are suggested (classroom notes) and apply enrich their understanding the performance component
for either preparation the information when they of the practical work done in in the PAT.
or reflection on the prepare and reflect on the the PAT.
It is suggested that the
performance component of practical work done in the
assignment task also be
the PAT tasks. PAT.
used as preparation towards
the written and performance
examination.

Each learner to: collect,

analyse, interpret and
present information on their
individual journey towards
this PAT performance
component as well as the
written and performance
examination component.
NOTE: The foci of the three PATs (essay, research task and assignment) do not have to be
done in the order given above. While all three PAT tasks must be accomplished in a year, the
assignment, essay and research may be done in any of the three terms, according to each
school’s specific planning.

PERFORMANCE/PRACTICAL COMPONENT OF THE PATs

Teachers must select which dramatic form and/or technical aspects would be most suitable considering the context
of the school, the learner’s development and the time of year.

Physical-based group performance:

Movement, mime, dance drama, physical theatre and cultural dance forms and others.

CAPS 51
DRAMATIC ARTS GRADES 10-12
Group performance using verbal and non-verbal communication:

Group scenes, workshopped plays, scripted plays, improvised scenes, choral verse, group dramatised prose,
narrative presentation, Protest theatre, Theatre in Education, Workers' theatre, Community theatre, indigenous
performance forms, Storytelling, musical theatre performance, and others.

Individual performance:

Poetry, monologue, dramatised prose, popular performance, storytelling, indigenous performance, public speaking,
solo mime, solo physical theatre, musical theatre performance, and others.

Technical aspects:

Scenery, properties, lighting, sound, costume, make-up, special effects, puppetry, masks, production schedules,
rehearsals, stage management plans, marketing plans, front-of-house procedures, acting, directing, writing,
workshopping, management, design, and others.

Tests

• The tests in Dramatic Arts must be substantive in terms of time and marks, and must provide for a range
of abilities and assess a range of knowledge and skills. For example, a test should last a minimum of 60
minutes and count a minimum of 50 marks.

• Tests should include questions on the theoretical underpinnings of personal resources, creating, making and
presenting, understanding and analysis, reflection and evaluation.

• Each test, open book test and examination must cater for a range of cognitive levels and must also include
longer responses.

WRITTEN EXAMINATIONS

Format for the examinations in Grades 10 and 11

There are two examinations in Grades 10 and 11: one mid-year and the other one at the end of the year. Each
examination consists of a written examination and a performance examination. The outline for the written examination
paper is as follows:

GRADE NUMBER OF PAPERS DURATION MARK ALLOCATION

2 hours Mid-year: 100
10 1
3 hours End-of-year: 150
Mid-year and end-of-year:
11 1 3 hours
150

The end-of-year written examination paper for Grade 11 follows a similar structure to the Grade 12 external paper.
In this way, learners will have experience of writing a three-hour paper when confronted with one in the Grade 12
examinations. This written paper will constitute 150 marks of the end-of-year assessment mark in Grades 10 and 11.
The questions in the paper will assess the topics in Section 3 of this document.

52 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
The written examination paper could include the following:

• Paragraph questions

• Contextual questions

• Paragraph and short questions based on personal development and experiences

• In Grade 11, there should be a minimum of one essay (as per the Grade 12 paper format)

Format for the examinations in Grade 12

Learners will write one externally set and moderated written examination paper of three hours. The written paper will
constitute 150 marks of the end-of-year assessment mark in Grade 12. The questions in the paper will assess the
topics in Section 3 of this document.

The written examination paper could include the following:

• Paragraph questions

• Contextual questions

• Paragraph and short questions based on personal development and experiences

• At least one essay

PERFORMANCE EXAMINATIONS

The performance examination will make up 150 marks of the end-of-year assessment mark in Grades 10 and 11.

In Grade 12 the three options available to learners to choose for their performance examination:

A. Audition programme

B. Technical theatre

C. Theme programme

(A) AUDITION PROGRAMME:

Preparation and process

Candidates, facilitated by the teacher, should do the following:

1. At the beginning of the process, discuss the necessity and importance of keeping a journal. Also discuss the
format that this journal will take. The purpose is to keep a written record of both the preparation as well as
the performance component of the performance examination. In the event of a candidate not being able to
participate in the performance examination the teacher and the examiner/moderator will use this written record
to determine the learner’s mark.

CAPS 53
DRAMATIC ARTS GRADES 10-12
2. Select three contrasting pieces for performance. (At least one of these should preferably be a South African
piece.) Each of these three pieces should represent a different style or genre, such as indigenous drama,
comedy, tragedy or farce. Consider the candidate’s strength, and preference in the decision making. See range
of possible choices listed in this document under the heading, PERFORMANCE/PRACTICAL COMPONENT
of the PATs.

3. Create suitable links between each of the pieces.

4. Rehearse the pieces towards a polished performance.

5. Apply interpretative and performance skills to the selected drama pieces and to the respective dramatic forms
unique to each of these pieces.

6. As soon as possible, secure a day and time for the performance examination that will be suitable for all
stakeholders: candidates, teacher, school and examiner.

7. The day, time and venue for the performance examination will be communicated by the area offices/region/
district/provincial unit.

8. Audition programmes can be performed by an individual candidate, although it is preferable for one of the
pieces to be a group or scene item to demonstrate interaction skills.

9. The length of the programme per individual candidate should be approximately five minutes in duration.

10. Technical elements are applied and integrated, as required by the pieces and determined by the provincial
guidelines/context.

11. Rehearse these into the programme.

12. Dress code: standard black attire (T-shirt and pants or skirt) may be worn, or learners may select costume
pieces to assist in characterisation. The flow of the programme should, however, not be hampered by costume
changes.

13. Where applicable long hair should be tied back, away from the face.

14. For examination purposes: compile a completed script of the audition programme.

15. Arrange the drama items in the appropriate running order (short programme).

16. In cases where the candidate selected an item in any language other than the LOLT (Language of Learning and
Teaching) for performance; the candidate should translate the text into the language of instruction: Dramatic
Arts or Dramatiese Kunste.

(B) TECHNICAL THEATRE PROGRAMME:

Preparation and process

Candidates, facilitated by the teacher, should do the following:

1) At the beginning of the process, discuss the necessity and importance of keeping a process script or note
book. The purpose is to keep a record of both the preparation and the performance component of the duties
executed. In the event of a candidate not being able to participate in the performance examination, the teacher
and the examiner/moderator will use this written record to determine a mark for the learner.

54 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
2) The Technical Theatre Programme has two options: a technical/stage craft option or a directing option.

3) Where candidates have chosen the technical/stage craft option, they should demonstrate applied competence
of technical/stage crafts aspects.

4) Preliminary and final technical plans and sketches such as lighting, sound, etc. with artistic motivations as well
as an execution of the plan, is required in the form of a prompt book/script book/note book and a production
journal. This should be submitted to the examination panel by the candidate.

5) Where candidates have chosen directing as an option they should direct a one-act play of at least 10 minutes
and design and apply the relevant technical requirements.

6) Candidates should also create an accompanying director’s script that contains research, development of
characters, blocking, costumes, lighting and all other relevant related technical aspects.

7) This programme is not an easy option, only candidates who demonstrate exceptional technical and directing
potential and abilities may choose to do a technical/stage craft or directing programme.

8) The teacher should consult with the provincial subject advisor before embarking on preparing a candidate for
this programme and its two options.

9) The focus will be on the ingenuity and creativity of candidates in improvising around available resources in
order to create an effective visual/aural environment, rather than on the sophistication of technical resources
or the operation ability of a candidate of a lighting or sound system.

10) Discuss performance rubric focusing on the assessment criteria such as design, stage management and
directing.

11) Candidates research a range of possible themes/one-act play/performances and select one at the end of the
process.

12) As soon as possible, secure a day and time for the external performance examination that will be suitable for
all stakeholders: candidates, teacher, school and examiner.

13) This date should be on the same day and at the same time as the other candidates’ audition and theme
programmes.

14) Book a venue for the external performance examination.

15) In cases where the candidate selected an item in any language other than the LOLT, for the performance; the
candidate should translate the text into the language of instruction: Dramatic Arts or Dramatiese Kunste.

CAPS 55
DRAMATIC ARTS GRADES 10-12
(C) THEME PROGRAMME:

PREPARATION AND PROCESS

Candidates, facilitated by the teacher, should:

1. At the beginning of the process, discuss the necessity and importance of keeping a journal. Also discuss
the format that this journal will take. The purpose is to keep a written record of both the preparation and
the performance component of the performance examination. In the event of a candidate not being able
to participate in the performance examination, the teacher and the examiner/moderator will use this written
record to determine the learner’s mark.

2. Discuss the performance rubric.

3. Divide the candidates into groups of four to six. Select three contrasting pieces for performance. (One of
these should preferably be a South African piece.) Each of these three pieces should represent a different style
or genre, such as indigenous drama, comedy, tragedy and farce. See the range of possible choices listed in
this document under the heading, PERFORMANCE/PRACTICAL COMPONENT of the PATs.

4. Consider the candidate’s strength, and preferences in the decision making.

5. Each candidate should perform at least one individual and one group piece within their theme programme.

6. Each group brainstorms a range of possible themes and selects one final theme at the end of the process.

7. Research and select suitable drama pieces for this theme.

8. Create suitable links between each of these pieces.

9. As soon as possible, secure a day and time for the performance examination that will be suitable for all
stakeholders: candidates, teacher, school and examiner.

10. The length of the programme should be approximately five minutes per candidate.

11. Rehearse the pieces and the accompanying links and transitions towards a cohesive polished performance.

12. Decide, where applicable and appropriate, what technical elements the programme may require and rehearse
these into the programme.

13. Dress code: Standard black attire (T-shirt and pants or skirt) may be worn, or learners may select costume
pieces to assist in characterisation. The flow of the programme should, however, not be hampered by costume
changes.

14. Where applicable, long hair should be tied back, away from the face. Candidates should not wear any jewellery.

15. Each candidate should have a different colour symbol (ribbon, piece of material etc.) displayed clearly around
the arm or pinned to the hip or the chest. This services as identification.

16. Arrange the drama items and links in the appropriate running order.

17. Compile a complete script of the theme programme.

56 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
18. In cases where the candidate selected an item in any language other than the LOLT (Language of Learning and
Teaching) for performance, the candidate should translate the text into the language of instruction: Dramatic
Arts or Dramatiese Kunste.

THEME, AUDITION OR TECHNICAL THEATRE PROGRAMME OPTIONS

Performance and examination requirements

1. The script, in hard copy, of the programme should be made available to the examiner/moderator on the day of
the performance examination.

2. On the hard copy programme, write the names and surnames of the candidates next to each piece that they
will perform.

3. Prepare the performance venue (sweep floor, arrange chairs, tidy space to make it neat and presentable).

4. Provide the moderator with:

• table and chairs for examiners

• hard copy of the programme

• checklist with the candidates’

-- names and surnames of candidates

-- colour code of each candidate

-- performance mark allocated by the teacher

5. If teachers have invited an audience, the audience must be welcomed by the relevant teacher and informed
that this is an EXAMINATION, and that responses and reactions to the performances are expected, but no
distractions or interference with the performance will be allowed.

6. Start on time.

7. Each group will perform their programmes to an examining panel.

8. When examining on the panel, teachers must have knowledge of the following:

• the three performance examinations’ process and procedures

• the relevant rubrics for each of these three options

• the Dramatic Arts CAPS3.

3.5 Recording and reporting

Recording is a process in which the teacher documents the level of a learner’s performance in a specific assessment
task. It indicates learner progress towards the achievement of the knowledge as prescribed in the Curriculum and
Assessment Policy Statements (CAPS). Records of learner performance should provide evidence of the learner’s
conceptual progression within a grade and her/his readiness to progress or being promoted to the next grade.

CAPS 57
DRAMATIC ARTS GRADES 10-12
Records of learner performance should also be used to verify the progress made by teachers and learners in the
teaching and learning process.

Reporting is a process of communicating learner performance to learners, parents, schools and other stakeholders.
Learner performance can be reported in a number of ways. These include, among others, report cards, parents’
meetings, school visitation days, parent-teacher conferences, phone calls, letters, class or school newsletters.
Teachers in all grades report in percentages against the subject. Seven levels of competence have been described
for each subject listed for Grades R - 12. The various achievement levels and their corresponding percentage bands
are as shown in the table below.

CODES AND PERCENTAGES FOR RECORDING AND REPORTING

RATING CODE DESCRIPTION OF COMPETENCE PERCENTAGE

7 Outstanding achievement 80 - 100
6 Meritorious achievement 70 - 79
5 Substantial achievement 60 - 69
4 Adequate achievement 50 - 59
3 Moderate achievement 40 - 49
2 Elementary achievement 30 - 39
1 Not achieved 0 - 29

Note: The seven-point scale should have clear descriptors that give detailed information for each level.

Teachers will

• record actual marks against the task by using a record sheet; and

• report in percentages against the subject on learners’ report cards.

3.6 Moderation of assessment

Moderation refers to the process that ensures that the assessment tasks are fair, valid and reliable. Moderation
should be implemented at school, district, provincial and national levels. Comprehensive and appropriate moderation
practices must be in place for the quality assurance of all subject assessments.

All Grade 10 and 11 tasks are internally moderated, while all Grade 12 tasks should be externally moderated. The
subject head for Dramatic Arts or head of department for Arts and Culture at the school will generally manage this
process.

Moderation should be conducted on three levels:

• School level: Formal Assessment Tasks should be submitted to the subject head for moderation before learners
attempt the task. The teacher’s planning and evidence of learner performance should be moderated twice a year
by the head of the subject or her/his delegate.

• Cluster/district/region: teacher portfolios and a sample of evidence of learner performance must be moderated
twice during the first three terms.

• Provincial/national: teacher portfolios and a sample of evidence of learner performance must be moderated once
a year.

58 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
3.7 Annexure

Assessment Tools

The following tools are suggested for the assessment of the three PATs (preparation/theoretical and performance):

GUIDELINES FOR STANDARDIZATION OF ESSAY

are found in the table on the following page.

CAPS 59
 Teachers should use these guidelines to assist in ensuring that the ANALYTICAL RUBRIC USED TO ASSESS AN INDIVIDUAL ESSAY
following is covered: Category Mark % Descriptors (Evidence)

60
1 INSTRUCTION Outstanding 23 - 25 Well-organised, comprehensive and coherent, polished structure.
• Topic stated clearly and simply, i.e. including a glossary of terms used achievement Supported by an exceptional high level of competence. Able to process
• Divide topic into core ideas for paragraphs information into original interpretation and thoughtful selection of facts.
• Include suggested time management plan, e.g. planning of deadlines, Using a variety of original and/or relevant dramatic references. Insightful,
submission of evidence, etc. fluent, observation and knowledge powerfully expressed.
• Specify type of essay, e.g. comparative, descriptive Meritorious Well-organised, detailed and coherent, polished structure.Supported
2 FORMAT achievement 23 - 25 by a high level of competence to process information into original
• Formal structure, e.g. write in paragraphs using core ideas interpretation and careful selection of facts. Using original or unusual
• Introduction, main body of knowledge, conclusion/summary selection of relevant dramatic references. Shows insight, observation and
• Length and weighting, e.g. be guided by the following: knowledge well expressed.
± 1 page = ± 250 words = ± 25 marks for a short essay (convert Organised, detailed, some level of competence, some slight flaws
accordingly) 17 - 19
evident in structure. Interesting reading, clear statements, convincing,
Substantial
DRAMATIC ARTS GRADES 10-12

3 CONTENT simple direct language. Supported by a selection of relevant dramatic

achievement
• The content of the essay must reflect: references. Shows good grasp of the theme/task, some insightful
- Conceptualisation (understanding) and application of skills, statements. Obvious care and effort taken with presentation.
knowledge and values (SKV).
Structure not always logical or organised, reasonable effort with
- Support material suggested/ provided by the teacher to be used as
13 - 16 presentation. Displays a basic understanding but tends towards
basis for the essay.
mechanistic and stereotyped responses at times. Adequate selection
- Integration of practical experience and theoretical material should
Adequate of relevant “dramatic” references. Adequate reading but appears
be evident.
achievement memorized. Not always a high level of insight, sometimes unimaginative,
- Basic terminology (language of drama) to be used.
but has some ability to justify discussion
- The essay should reflect practical and theoretical development of
Not always organised and logically constructed
the learners’ understanding of the topic.
06 - 09 Not always enough information, some flashes of insight
4 MARKS AWARDED

CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

Limited selection of information
• Assessment rubric is given to learners as part of the brief or Poor language skills. Argument lacks supporting discussion.
instruction
Incoherent, very little work, limited skills. Irrelevant information provided,
• Marks are allocated according to the achievement of criteria reflected Elementary 00 - 05
lacking any supporting discussion.
in the assessment rubric achievement
• 25 marks awarded to preparation (essay task)
• 25 marks awarded to performance
• Marks are allocated according to the achievement of criteria reflected Not achieved
in the assessment rubric
 GUIDELINES FOR STANDARDISATION OF RESEARCH TASK GUIDELINES FOR STANDARDISATION OFASSIGNMENT
Teachers should use these guidelines to assist in ensuring that the following is covered: Teachers should use this checklist to assist in ensuring that the following is covered:
1 • Clear and unambiguous, i.e. analyse/describe/compare/evaluate/predict/own 1 INSTRUCTIONS or brief for the assignment entry is:

CAPS
opinion • Clear and unambiguous
• Demonstrates sensitivity towards gender, race, language, class, etc. • Should be sensitive to gender, inclusivity, culture, class, race and religion
2 • FORMAT can be any one of the following options: 2 FORMAT can be any one of the following options:
• Written presentation (i.e. research essay with introduction, main body of • Journal entry
knowledge, conclusion/summary), minimum 300 words/2 pages • Collage
• Oral presentation substantiated by written material (notes, brainstorming, etc.), • Montage in AO format
3 − 5 minutes per learner • Visual imagery (e.g. photos, video, DVD, audio recording, etc.)
• Forum discussion/debate and accompanying script (15 minutes per group of 5) • Paragraphs
• Media: film clips/video/DVD/television inserts/radio/newspaper clips/ (3 – 5 • Creative essay
minutes) • Worksheet designed by teacher
• PowerPoint presentations (3 − 5 minutes per learner) • Preparation for final practical work
• Interviews and accompanying scripts (5 minutes per pair/group) • Film analysis, theatre reviews, etc.
• Models of stage types, set designs, décor, props, costumes with accompanying
written evidence
• Collage [mixed media (A0 size)], montage, etc.
3 • CONTENT of the research: 3 CONTENT of the assignment:
• Conceptualisation (understanding) and application of skills, knowledge and • The assignment is used to record the classroom teaching, to reflect in a
values meaningful way on the teaching and to provide proof of the continuous
• Practical experience and theoretical support material (classroom notes and development of the learner
other source material) should be integrated in the research of choice • Conceptualisation (understanding) and application of skills, knowledge and
• Basic terminology (the language of drama) used in all written presentations values
• Support material as well as practical classroom activities could be used
• Integration of practical experiences and theoretical material should be evident in
the assignment
• Dramatic Arts terminology should be used in the writing of the assignment
• Individual reflection and development of theoretical understanding through
practical work, even in the case of group activity, should be evident in the
assignment
• Specialised language, carefully explained, in the case of Indigenous Knowledge
Systems, should be adhered to
• It is suggested that the assignment task be used as preparation towards both
the PAT performance as well as the performance component of the performance
examination.
4 SOURCES/collection of information for the research:
• Variety of sources (interviews, field testing, human resources, books,
newspapers, television, film, internet, etc.)
• A minimum of two sources (not more than one internet source)

61
• Reference to sources (reference system/bibliography)
• Avoid plagiarism – i.e. only ethical use of sources
DRAMATIC ARTS GRADES 10-12
DRAMATIC ARTS GRADES 10-12
The performance components of the three PATs.

See the following rubrics for monologue, scene, poetry, prose and movement.

MONOLOGUE
CRITERIA Fully achieved (2) Partially achieved (1) Not achieved (0)
Preparation: The learner knows the The learner knows the The learner does not know
words of the monologue and words, but there is some the words of the monologue
shows evidence of thought, evidence of uncertainty or and does not show evidence
planning and rehearsal. lack of rehearsal. of thought, planning and
rehearsal.
Understanding of The learner demonstrates There is evidence of The learner demonstrates
monologue: an understanding of the some understanding little or no understanding of
monologue as it stands of the monologue, but the monologue as it stands
within the context of the certain aspects have been within the context of the
play as a whole. He/she overlooked, or this is not play as a whole. He/she
understands the basic consistent throughout. does not understand the
dilemma/conflict of the There may be a possible basic dilemma/conflict of the
monologue, his/her character misinterpretation on monologue, his/her character
and their motivations. the basis of the given and their motivations. There
circumstances. is complete misinterpretation
on the basis of the given
circumstances.
Vocal characterisation The learner demonstrates an The learner is partially The learner is unsuccessful
understanding of how all the successful in creating in creating and sustaining
elements of voice work come and sustaining a vocal a vocal characterisation,
together to communicate characterisation, or there or there is vocal strain
the personality, background, may be indications of vocal throughout the performance.
class, age, education and strain. Certain aspects of The vocal characterisation
status of the speaker. He/ the characterisation may is inappropriate for the
she is able to interpret a be inappropriate for the particular character or
text, make appropriate particular character or context.
choices for characterisation context.
and use these chosen
characteristics without vocal
strain. These characteristics
may include: pitch,
intonation, range, rhythm,
accent, tone and quality in
order to successfully and
appropriately convey the
voice of their character.
Vocal clarity The learner speaks distinctly The learner is partially The learner is unsuccessful
and audibly for clear successful in speaking in speaking distinctly
communication. He/she is distinctly and audibly for and audibly for clear
able to (within certain limits) clear communication. There communication. Volume can
use the appropriate volume are momentary lapses, or only be attained with vocal
for a space, without vocal there are moments of strain. strain.
strain.

62 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

MONOLOGUE
CRITERIA Fully achieved (2) Partially achieved (1) Not achieved (0)
Physical characterisation The learner demonstrates The learner is partially The learner is unsuccessful
an ability to adapt his/her successful in creating in creating and sustaining
body in terms of posture, and sustaining a physical a physical characterisation,
energy, weight, size and characterisation, or there or there is excessive
quality of gestures, physical may be indications of unnecessary tension
rhythms and habits in unnecessary tension. displayed throughout
order to successfully and Certain aspects of the the performance. The
appropriately convey characterisation may physical characterisation
the physicality of his/her be inappropriate for the is inappropriate for the
character. particular character or particular character or
context. context.
Stage sense - use of space The learner demonstrates The learner is partially The learner is unsuccessful
an ability to use the stage successful in using the stage in using the stage
space appropriately and space appropriately and space appropriately and
interestingly, in such a interestingly. This may be interestingly. They are
way that the performance due to self-consciousness, consistently self-conscious,
communicates clearly to upstaging, and uncertainty upstage themselves, are
the audience. All movement in moments or unmotivated uncertain and move often
is motivated. (Note: In a movements at times. without motivation.
monologue, stillness may be
appropriate; however, then
the focus should be on how
the size of the playing space
needs to be filled in order for
the audience to be affected
by the performance.)
Emotional connection The learner demonstrates The learner is partially The learner is unsuccessful
an ability to connect with the successful in terms of in terms of connecting with
emotions of his/her character connecting with the the emotions of his/her
appropriately and effectively emotions of his/her character appropriately and
in such a way as to convince character appropriately and effectively; the learner is
the audience of the truth of effectively; they may not not at all convincing, or his/
these emotions. be totally convincing at all her emotional choices are
moments, or they may react entirely inappropriate.
inappropriately in certain
moments.
Playing of subtext The learner demonstrates The learner is partially The learner is unsuccessful
an understanding of subtext successful in terms of in terms of playing subtext
and intention, in order to playing subtext and and intentions. Lines and
make a character’s lines and intentions, and making actions seem unmotivated,
actions understandable to an the character’s lines and there is little evidence of
audience. The character’s actions understandable to an thinking through the subtext,
inner life is explored and audience. The character’s lines are recited by rote and
sustained throughout the inner life is not fully the character’s inner life is
performance. sustained throughout the not sustained throughout the
performance. performance.

CAPS 63
DRAMATIC ARTS GRADES 10-12
MONOLOGUE
CRITERIA Fully achieved (2) Partially achieved (1) Not achieved (0)
Interpretation of character The learner interprets the The learner is partially The learner is unsuccessful
character intelligently, successful in interpreting the in interpreting the character,
making choices which are character; certain choices they make completely
effective and appropriate, are not as effective or inappropriate choices,
based on his/her knowledge appropriate as is desirable, which are not effective and
of the play from which the or there is evidence of a lack there is evidence of gross
monologue comes. of understanding of the given misunderstanding of the
circumstances of the play. given circumstances of the
play.
Relationship to listener The learner demonstrates The learner is partially The learner is unsuccessful
the ability to create the successful in creating in creating the listener
listener (imaginary partner) the listener through through visualisation. There
through visualisation or, if visualisation or through is little understanding of their
appropriate, through using using the audience as the character’s status in relation
the audience as this listener. listener. There is some to the listeners or what their
He/she demonstrates an understanding of his/her possible responses may be.
understanding of his/her character’s status in relation
character’s status in relation to the listener, but little sense
to the him/herself and his/her of what responses there are.
possible responses to what
is being said though the
course of the monologue.
Believability The learner is believable at The learner is believable in The learner is seldom
all times within the context of moments within the context believable within the context
the monologue. of the monologue. of the monologue.
Structure of monologue The learner demonstrates The learner does not have a There is little evidence of
an understanding of how the sufficiently clear beginning, structure, no real sense of
playwright has structured the middle and end. The climax a beginning, middle and
monologue. The monologue is not completely realised. end, and the climax is not
has a clear beginning, realised.
middle and end. There is a
climax or highpoint to the
monologue.
Rhythms/ shape of The learner demonstrates The learner does not There is little or no variety
monologue: an understanding of the ebb consistently create within the monologue, pace
and flow of the monologue, sufficient variety within the is too regular or monotonous
the use of pace to highlight monologue, pace is at times and there is no evidence
or build to a climax, the too regular or monotonous of different beats within the
shifting rhythms of different and there is little evidence monologue.
beats within the monologue. of different beats within the
monologue.
Creation of appropriate The learner demonstrates There is some attempt There is little or no attempt
genre/style the ability to interpret genre to interpret genre and to interpret genre and
and style appropriately and style appropriately but the style appropriately and the
then fulfill the demands of demands of the genre/ demands of the genre/style
the genre/style in terms of style are not fully realised are not realised throughout
such aspects as relationship throughout the monologue. the monologue.
to the audience, believability
within style, timing,
appropriate physical action
etc.
Impact of monologue The monologue is The monologue has some The monologue has few or
memorable, effective and memorable, effective, no memorable, effective,
engaging. engaging moments, but engaging moments.
these are inconsistent.

64 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

SCENE

Fully Achieved (2) Partially Achieved (1) Not Achieved (0)

Preparation The learner knows the The learner knows the The learner does not know
words of the scene and words, but there is some the words of the scene and
shows evidence of thought, evidence of uncertainty or does not show evidence
planning and rehearsal. lack of rehearsal. of thought, planning and
rehearsal.
Understanding of scene The learner demonstrates There is evidence of some The learner demonstrates
an understanding of the understanding of the little or no understanding
scene as it stands within scene, but certain aspects of the scene as it stands
the context of the play as a have been overlooked, within the context of the
whole. He/she understands or this is not consistent play as a whole. He/she
the basic dilemma/conflict of throughout. There may be does not understand the
the scene and the characters a possible misinterpretation basic dilemma/conflict of the
and their motivations. on the basis of the given scene, his/her character and
circumstances. their motivations. There is
complete misinterpretation
on the basis of the given
circumstances.
Vocal characterisation The learner demonstrates an The learner is partially The learner is unsuccessful
understanding of how all the successful in creating in creating and sustaining
elements of voice work come and sustaining a vocal a vocal characterisation,
together to communicate characterisation, or there or there is vocal strain
the personality, background, may be indications of vocal throughout the performance.
class, age, education and strain. Certain aspects of The vocal characterisation
status of the speaker. He/ the characterisation may is inappropriate for the
she is able to interpret a be inappropriate for the particular character or
text, make appropriate particular character or context.
choices for characterisation context.
and use these chosen
characteristics without vocal
strain. These characteristics
may include: pitch,
intonation, range, rhythm,
accent, tone and quality in
order to successfully and
appropriately convey the
voice of their character.
Vocal clarity The learner is able to speak The learner is partially The learner is unsuccessful
distinctly and audibly for successful in speaking in speaking distinctly
clear communication. He/ distinctly and audibly for and audibly for clear
she is able to (within certain clear communication. There communication. Volume can
limits) use the appropriate are momentary lapses, or only be attained with vocal
volume for a space, without there are moments of strain. strain.
vocal strain.

CAPS 65
DRAMATIC ARTS GRADES 10-12
SCENE

Fully Achieved (2) Partially Achieved (1) Not Achieved (0)

Physical characterisation The learner demonstrates The learner is partially The learner is unsuccessful
an ability to adapt his/her successful in creating in creating and sustaining
body in terms of posture, and sustaining a physical a physical characterisation,
energy, weight, size and characterisation, or there or there is excessive
quality of gestures, physical may be indications of unnecessary tension
rhythms and habits in unnecessary tension. displayed throughout
order to successfully and Certain aspects of the the performance. The
appropriately convey characterisation may physical characterisation
the physicality of his/her be inappropriate for the is inappropriate for the
character. particular character or particular character or
context. context.
Stage sense - use of space The learner demonstrates The learner is partially The learner is unsuccessful
an ability to use the stage successful in using the stage in using the stage
space appropriately and space appropriately and space appropriately and
interestingly, in such a interestingly. This may be interestingly. They are
way that the performance due to self-consciousness, consistently self-conscious,
communicates clearly to upstaging of themselves upstage themselves and
the audience and indicates or others, uncertainty in others, uncertain and move
understanding of the moments or unmotivated often without motivation.
changing dynamics of the movements at times.
relationship being explored.
All movement is motivated.
Emotional connection The learner demonstrates The learner is partially The learner is unsuccessful
an ability to connect with the successful in terms of in terms of connecting with
emotions of his/her character connecting with the the emotions of his/her
appropriately and effectively emotions of his/her character appropriately and
in such a way as to convince character appropriately and effectively; and is not at all
the audience of the truth of effectively; they may not convincing, his/her emotional
these emotions. be totally convincing at all choices are entirely
moments, or they may react inappropriate.
inappropriately in certain
moments.
Playing of subtext: The learner demonstrates The learner is partially The learner is unsuccessful
an understanding of subtext successful in terms of in terms of playing subtext
and intention, in order to playing subtext and and intentions. Lines and
make a character’s lines and intentions, and making actions seem unmotivated,
actions understandable to an the character’s lines and there is little evidence of
audience. The character’s actions understandable to an thinking through the subtext,
inner life is explored and audience. The character’s lines are recited by rote and
sustained throughout the inner life is not fully the character’s inner life is
performance. sustained throughout the not sustained throughout the
performance. performance.
Interaction -listening The learner demonstrates The learner is inconsistent in There is little or no evidence
the ability to stay in character terms of staying in character of staying in character when
when not speaking or not when not speaking or not not speaking or not being
being the focus of attention being the focus of attention; the focus of attention; there
and continues to react and reactions to the other is little reaction to the other
listen to the other characters characters and listening are characters and little or no
on stage at all times. not sustained throughout the listening.
scene.

66 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

SCENE

Fully Achieved (2) Partially Achieved (1) Not Achieved (0)

Development of relationship The learner demonstrates The learner is inconsistent The learner is unaware of
an understanding of his/her in demonstrating his/her his/her character’s status
character’s status in relation character’s status in relation in relation to the other
to the other characters in to the other characters in characters in the scene; the
the scene and he/she allows the scene; the relationship relationship between the
the relationship between the between the characters characters does not grow,
characters to grow, develop does not grow, develop and develop and change through
and change appropriately. change appropriately. the course of the scene.
Believability The learner is believable at The learner is believable in The learner is seldom
all times within the context of moments within the context believable within the context
the scene or play. of the scene or play. of the scene or play.
Structure of scene The learner demonstrates The learner does not have a There is little evidence of
an understanding of how the sufficiently clear beginning, structure, no real sense of
playwright has structured middle and end. The climax a beginning, middle and
the scene. The scene has a is not completely realised. end, and the climax is not
clear beginning, middle and realised.
end. There is a climax or
highpoint to the scene.
Creation of appropriate The learner demonstrates There is some attempt There is little or no attempt
genre/style the ability to interpret genre to interpret genre and to interpret genre and
and style appropriately and style appropriately but the style appropriately and the
to fulfill the demands of the demands of the genre/ demands of the genre/style
genre/style in terms of such style are not fully realised are not realised throughout
aspects as relationship to throughout the scene. the scene.
the audience, believability
within style, timing,
appropriate physical action
etc.
Impact of scene The scene is memorable, The scene has some The scene has few or
effective and engaging. memorable, effective, no memorable, effective,
engaging moments, but engaging moments.
these are inconsistent.

CAPS 67
DRAMATIC ARTS GRADES 10-12
POETRY
CRITERIA Fully Achieved (2) Partially Achieved (1) Not Achieved (0)
Preparation The learner knows the The learner knows the The learner does not know
words of the poem and words, but there is some the words of the poem and
shows evidence of thought, evidence of uncertainty or does not show evidence
planning and rehearsal. lack of rehearsal. of thought, planning and
rehearsal.
Understanding of poem The learner demonstrates an The learner must The learner does
understanding of the poem demonstrate an not demonstrate an
and their interpretation is understanding of the poem understanding of the poem
appropriate and justified. and their interpretation and his/her interpretation is
should be appropriate and not appropriate or justified.
justified.
Expression of meaning The learner has an The learner is only partially The learner is not successful
understanding of how to successful in conveying the in conveying the meaning of
convey meaning through meaning of the poem. The the poem. The meaning is
the use of such elements as meaning is not always fully not unclear or inexpressively
phrasing, pause, emphasis, clear or expressive. conveyed.
intonation and vocal tone
(quality). He/she is able to
interpret a text using these
elements and communicates
the meaning of the text
clearly and expressively.
Vocal expressiveness The learner is able to create The learner’s voice is not The learner’s voice is
a balanced, pleasant voice consistently balanced or not balanced or pleasant
quality, which is unique, pleasant to listen to, or to listen to, or there is
appropriate to them and there is some evidence of evidence of excessive vocal
shows no signs of strain. He/ vocal strain. He/she is not strain. He/she is not at all
she explores and utilises the completely successful in successful in exploring and
expressive, interpretative exploring and utilising the utilising the expressive,
and musical aspects of expressive, interpretative interpretative and musical
speech sounds in order and musical aspects of aspects of speech sounds in
to express subtleties of speech sounds in order order to express subtleties of
meaning, and convey mood/ to express subtleties of meaning, and convey mood/
atmosphere. meaning, and convey mood/ atmosphere.
atmosphere.
Vocal clarity The learner is able to speak The learner is partially The learner is unsuccessful
distinctly and audibly for successful in speaking in speaking distinctly
clear communication. He/ distinctly and audibly for and audibly for clear
she is able to (within certain clear communication. There communication. Volume can
limits) use the appropriate are momentary lapses, or only be attained with vocal
volume for a space, without there are moments of strain. strain.
vocal strain.

68 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

POETRY
CRITERIA Fully Achieved (2) Partially Achieved (1) Not Achieved (0)
Physical work The learner chooses The learner’s choices in The learner chooses
movement or stillness terms of movement or movement or stillness
appropriate to the poem and stillness are not always which is inappropriate to
to his/her interpretation of it. appropriate to the poem the poem OR there is little
He/she demonstrates control OR there is a lack of control or no control over his/
over his/her body in order over his/her physicality her physicality OR there
to release unnecessary in moments OR there is is evidence of excessive
tension and establish optimal evidence of unnecessary unnecessary tension OR the
alignment and balance. The tension at times OR the body body is not integrated into
body supports the voice and is not fully integrated into the the poem at all.
is integrated with it. poem.
Emotional connection The learner is able to The learner is partially The learner is unsuccessful
connect with the emotions successful in terms of in terms of connecting with
of the persona in the poem connecting with the emotions the emotions of the persona
appropriately and effectively of the persona of the of the poem appropriately
in such a way as to convince poem appropriately and and effectively; the learner is
the audience of the truth of effectively; they may not not at all convincing, or his/
these emotions. be totally convincing at all her emotional choices are
moments, or they may react entirely inappropriate.
inappropriately in certain
moments.
Creation of appropriate The learner uses vocal and The creation of mood is There is little or no evidence
mood: physical expressiveness inconsistent, inappropriate or of understanding of the
in order to create a mood/ not fully sustained through mood, or the ability to create
atmosphere appropriate to the poem. it effectively using voice and
the poem. body.
Use of poetic devices The learner demonstrates Not all poetic devices are Few if any poetic devices are
a mastery of the poetic handled with mastery. well handled.
devices inherent in his/her
poem, including utilisation
of: pause, line and verse
lengths, rhythm, meter,
rhyme, imagery, register,
tone.
Impact of poem The learner’s presentation The poem has some The poem has few or no
is memorable, effective and memorable, effective, memorable, effective,
engaging. engaging moments, but engaging moments.
these are inconsistent.

CAPS 69
DRAMATIC ARTS GRADES 10-12
INDIVIDUAL PROSE
CRITERIA Fully Achieved (2) Partially Achieved (1) Not Achieved (0)
Preparation The learner knows the words The learner knows the The learner does not know
of the piece of prose and words, but there is some the words of the piece
shows evidence of thought, evidence of uncertainty or of prose and does not
planning and rehearsal. lack of rehearsal. show evidence of thought,
planning and rehearsal.
Understanding of piece of The learner demonstrates The learner must The learner must
prose an understanding of the demonstrate an demonstrate an
piece of prose and his/her understanding of the understanding of the
interpretation is appropriate piece of prose and his/her piece of prose and his/her
and justified. interpretation should be interpretation should be
appropriate and justified. appropriate and justified.
Expression of meaning The learner conveys The learner is only partially The learner is not successful
meaning successfully successful in conveying in conveying the meaning
through the use of such the meaning of the piece of the piece of prose. The
elements as phrasing, of prose. The meaning is meaning is not unclear or
pause, emphasis, intonation not always fully clear or inexpressively conveyed.
and vocal tone (quality). He/ expressive.
she is able to interpret a text
using these elements and
communicates the meaning
of the text clearly and
expressively.
Vocal expressiveness The learner uses a balanced, The learner’s voice is not The learner’s voice is
pleasant voice quality, which consistently balanced or not balanced or pleasant
is unique, appropriate to pleasant to listen to, or to listen to, or there is
them and shows no signs there is some evidence of evidence of excessive vocal
of strain. He/she explores vocal strain. He/she is not strain. He/she is not at all
and utilises the expressive, completely successful in successful in exploring and
interpretative and musical exploring and utilising the utilising the expressive,
aspects of speech sounds in expressive, interpretative interpretative and musical
order to express subtleties of and musical aspects of aspects of speech sounds in
meaning, and convey mood/ speech sounds in order order to express subtleties of
atmosphere. to express subtleties of meaning, and convey mood/
meaning, and convey mood/ atmosphere.
atmosphere.
Vocal clarity The learner is able to speak The learner is partially The learner is unsuccessful
distinctly and audibly for successful in speaking in speaking distinctly
clear communication. He/ distinctly and audibly for and audibly for clear
she is able to (within certain clear communication. There communication. Volume can
limits) use the appropriate are momentary lapses, or only be attained with vocal
volume for a space, without there are moments of strain. strain.
vocal strain.

70 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

INDIVIDUAL PROSE
CRITERIA Fully Achieved (2) Partially Achieved (1) Not Achieved (0)
Physical work The learner chooses The learner’s choices in The learner chooses
movement or stillness terms of movement or movement or stillness
appropriate to the piece stillness are not always which is inappropriate to the
of prose and to his/her appropriate to the piece piece of prose OR there is
interpretation of it. The of prose OR there is a little or no control over his/
learner demonstrates control lack of control over his/ her physicality OR there
over his/her body in order her physicality in moments is evidence of excessive
to release unnecessary OR there is evidence of unnecessary tension OR
tension and establish optimal unnecessary tension at the body is not integrated
alignment and balance. The times OR the body is not into the piece of prose
body supports the voice fully integrated into the piece at all. There is little or no
and is integrated with it. The of prose. There is only some evidence of creativity and
body is used creatively and evidence of creativity and expressiveness in the use of
expressively to assist in the expressiveness in the use of body.
dramatisation of the piece of body.
prose.
Dramatisation as The learner uses original, The learner is partially The learner is unsuccessful
performance piece effective theatrical means to effective or original in terms in terms of using theatrical
dramatise the piece of prose of using theatrical means to means to dramatise the
so that it works as a piece of dramatise the piece of prose piece of prose so that
performance. so that it works as a piece of it works as a piece of
performance. performance.
Use of appropriate narrative The learner is aware of the The learner is partially The learner is unsuccessful
techniques style of his/her story and the successful in using the in using appropriate
narrative techniques inherent appropriate narrative narrative techniques or uses
in it. (e.g. intsomi telling, techniques, or uses some completely inappropriate
fairy tales or myths) He/she but not others, or uses some narrative techniques, which
uses appropriate techniques inappropriate narrative do not work with the style of
in his/her performance, techniques, which do not his/her story.
including: third-person work with the style of his/her
narration, character creation, story.
use of song or chant etc.
Creation of appropriate The learner demonstrates There is some attempt There is little or no attempt
mood/style / genre an ability to use vocal and to interpret genre and to interpret genre and
physical expressiveness in style appropriately but the style appropriately and the
order to create a mood/style/ demands of the genre/ demands of the genre/style
genre appropriate to the style are not fully realised are not realised throughout
piece of prose. throughout the prose piece. the prose piece.
Impact of prose piece The learner’s presentation The prose piece has some The prose piece has few or
is memorable, effective and memorable, effective, no memorable, effective,
engaging. engaging moments, but engaging moments.
these are inconsistent.

CAPS 71
DRAMATIC ARTS GRADES 10-12
MOVEMENT
ASSESSMENT CRITERIA Partially achieved Achieved Achieved with merit
Practical/performance You are able to use a limited You are able to use a good You can use a wide range of
skills range of movements to range of movements to movements to create your
create sequences and show create sequences and sequences and are able to
1. The ability to
a little understanding of show an understanding of understand and use various
understand and use a
the use of space, time and styles and processes of choreographic styles and
range of movements,
movement dynamics. choreography. processes. You show a good
choreographic styles and
understanding of the use of
processes.
space, time and dynamics.
2. The ability to show You are able to perform You are able to perform your You perform your work
competence and some of your dance ideas ideas quite well so that your clearly and confidently so
confidence in movement clearly and now need to choreographic ideas are that your choreographic
performance so that ideas develop more confidence usually understood. ideas are understood by
are understood. when showing your work to those watching.
others.
Experimentation With help you can use some You are beginning to You can use a wide range of
(development and stimuli and accompaniments use some stimuli and stimuli and accompaniments
realisation of ideas) to create simple sequences. accompaniments with with confidence to create
You are able to use simple confidence to create complex sequences and
1. The ability to use
movement styles to simple sequences and show excellent use of
a variety of stimuli,
complete a task. are developing a range of various movement styles.
accompaniments and
movement styles.
movement styles to create
sequences
2. The ability to extend and With help and With increasing confidence You are able to develop a
develop an idea from the encouragement you are you are able to develop an simple idea into a complex
original stimulus and to try able to develop a simple idea, trying out and choosing sequence making clear
out ideas and select and idea trying out and choosing movements in order to decision about your work.
reject them with reason movements that you feel fit complete the task. You can explain your
and confidence in order to the task. reasons for selecting certain
complete a task. movements with confidence
and use dance vocabulary to
explain what you mean.
Critical Awareness When prompted you can You are able to make You are able to make
make comments on dance comments which help to detailed and analytical
1. The ability to make
work you have seen to help improve your own and other comments about dance
analytical comments which
improve them. people’s work. work which lead to
help improve the structure
improvements in structure
and performance of own
and performance.
and others work.
2. The ability to compare You are able to see obvious You are able to make You can see and make
and contrast the work of connections between connections between subtle connections and
different movement styles. different dance works, with different dance works and comparisons between a
help and encouragement choreographic styles variety of choreographic
dance styles and are able
to describe what you mean
clearly.

72 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

MOVEMENT
ASSESSMENT CRITERIA Partially achieved Achieved Achieved with merit
3. The ability to understand Within prompting you can You are able to talk about You show a clear
the difference between talk about why you like dance using appropriate understanding of dance
objective judgments and a dance using words to words and are beginning form and structure by the
personal preference describe the dance content to be aware of your own comments and vocabulary
when creating, using and (e.g. line, shape, rhythm, movement likes and dislikes. you use. You are aware of
watching movement forms dynamics, etc.) your own preferences in
movement and are able to
withhold them or use them
appropriately.
Personal and social skills You can sometimes work You usually work You work as a member of
cooperatively with other cooperatively with other a group cooperatively and
1. The ability to work
people sharing some ideas people contributing some contribute and share many
cooperatively as a
in order to help complete a ideas to the work of the ideas to the work of the
member of a group,
group task. group. group.
sharing ideas so that the
task is completed
2. The ability to work at You can develop and You are able to organise You are very well organised
developing an idea complete some pieces of your work and can develop and are able to develop
and organising work work on your own with help simple ideas on your own. ideas successfully on your
independently and encouragement. own

CAPS 73
DRAMATIC ARTS GRADES 10-12
MOVEMENT
ASSESSMENT CRITERIA Partially achieved Achieved Achieved with merit
3. The ability to sustain You are sometimes able to You can usually keep You remain interested in a
focus and effort through all keep working on an idea working on an idea from task through all the stages
stages and kinds of work. from beginning to end when beginning to end. of development and work
helped and encouraged. hard even while the task is
difficult.

PERFORMANCE EXAM: TECHNICAL PROGRAMME - STAGE MANAGER’S SCRIPT

STAGE MANAGER’S SCRIPT

Criteria 80 - 100% 70 - 79% 50 - 69% 35 - 49% 1 - 34%
Prop list Complete prop Most props majority props Some props No prop list or
(where list is supplied indicated as well as well as most listed and scenes extremely limited
applicable) for each scene as scenes for use scenes for use, is for use are not list and scenes
with indications of indicated and indicated indicated for use are not
function of each some functions is indicated
prop indicated
Costume list Complete Most costumes Majority costumes Some costumes No costume list or
(where costume list indicated as well as well as most listed and scenes extremely limited
applicable) is supplied for as scenes for use scenes for use for use are not list and scenes
each scene with indicated and indicated indicated for use are not
indications of some functions indicated
function of each indicated
costume
Furniture list Complete furniture Most furniture Majority of Some furniture No furniture list or
(where list is supplied indicated as well furniture as well listed and scenes extremely limited
applicable) for each scene as scenes for use as most scenes for use not list and scenes
with indications of indicated and for use indicated indicated for use are not
function of each some functions indicated
piece of furniture indicated
Cast list with Complete cast Complete cast Complete cast list Limited cast list No cast list or
contact numbers list is supplied for list is supplied is supplied but not is supplied for extremely limited
each scene with for each scene for each scene some scene/s list for some
full contact details with contact with most contact with some contact scene(s) with no
via different details in at least details details contact details
mediums of one medium of
communication communication
Sound Qs Sound Qs Sound Qs Sound Qs with Some sound Qs No sound Qs or
(where correctly indicated correctly indicated impulse are indicated with limited sound Qs
applicable) with impulse with impulse indicated; sound level indicated with no
indicated and indicated; sound levels
reflecting speaker
appropriate
reflecting speaker selection and
anticipation
selection and sound level
markings;
sound level
reflecting speaker
selection and
sound level
appropriate to
the performance
space

74 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12
PROPOSED RUBRICS FOR THE ASSESSMENT OF THE PERFORMANCE EXAMINATION

Performance Exam: Technical Programme

The candidate has created an effective visual or aural environment, using improvised and
found materials; he/she has used theatrical (visual or aural) devices to create cohesion, the
design concept is clear, imaginative, relevant to the material, well integrated and pleasing to
Outstanding 80-100
the eye; he/she has used props/scenic devices/lighting/sound/costume in inventive ways; the
design assists smooth transitions between pieces; there is a clear sense of style and the space
has been used effectively
The candidate has created an effective visual or aural environment, using improvised and
found materials. He/she has used theatrical (visual or aural) devices to create some cohesion;
Meritorious 70-79 the design concept is relevant to the material and well integrated. He/she has used props/
scenic devices/lighting/sound/costume in inventive ways. Design and technical elements have
been applied to the transitions. Style is addressed to some extent
The candidate has created a visual or aural environment using materials available; he/she
Substantial 60-69 could have explored the concepts further or found more imaginative ways of using the visual/
aural elements; transitions are addressed though design to some extent
There is a design concept and a visual/aural environment which is used in a limited way; either
Moderate 50-59 the transitions or the sense of cohesion could be further developed; the candidate could work
to integrate the design concept further
There is some use of design, and a design concept exists; more could be done to create a
Adequate 40-49
sense of theatrical cohesion
Some designs and technical elements have been used, but they do not provide cohesion and
Elementary 30-39
the design concept is unclear
There is no clear design concept and little thought has been applied to the technical aspects of
Not achieved: 0-29
the performance

CAPS 75
DRAMATIC ARTS GRADES 10-12
STAGE MANAGER’S SCRIPT
Criteria 80 - 100% 70 - 79% 50 - 69% 35 - 49% 1 - 34%
LX Qs All LX Qs correctly LX Qs correctly LX Qs correctly LX Qs indicated; No LX Qs or
(where indicated with indicated with indicated; reflecting light limited LX Qs
applicable impulse indicated impulse indicated; reflecting light intensity indicated with no
(Take into and appropriate reflecting light area and light indication of light
consideration anticipation area and light intensity as well intensity or timing
the type of markings; intensity as well as timing
equipment as timing
Reflecting
available)
light area and
light intensity
appropriate to
the performance
space as well as
timing
Movements All movements All movements All movements Some movements No or very few
noted are noted with the are noted with the are noted are noted movements are
use of appropriate use of appropriate noted
abbreviations abbreviations
and reference
to furniture and
décor
Scene Changes All scene changes All scene changes All scene changes Some scene No or very limited
indicated with indicated with indicated with changes noted scene change
notes of actions notes of actions notes of actions with some actions indications
that should be that should be that should be that should be
executed with executed and executed taken
appropriate call crew/actors
indications, timing involved
and crew/actors
involved
Calls All calls noted All calls noted All calls noted Some calls No calls or very
with time with time with impulses indicated with limited calls
indications as well indications as well some impulses indicated
as impulses and as impulses
where needed
anticipation
markings with
clear indications
of time

76 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

STAGE MANAGER’S SCRIPT

Criteria 80 - 100% 70 - 79% 50 - 69% 35 - 49% 1 - 34%
Opening Highly appropriate Appropriate Protocol Opening No or limited
and closing protocol for protocol for for opening and closing indication
procedures opening opening and closing procedures noted of opening
and closing and closing procedures used in the script and closing
procedures used procedures are and noted in procedures
and noted in the used and noted the script with
script with calls in the script with impulses required.
and timing as well calls and the
as the impulses impulses required.
required;

relevant crew/
actors listed with
calls
Layout of props Clearly marked Marked map Map indicating Some indication No indication of
table map indicating indicating layout layout of props on of prop layout props or limited
thoughtful layout of all props on a a prop table layout with
of all props used prop table perhaps only
on a prop table some props
is; differentiating
order of props
according to
scenes and or
other appropriate
criteria
Floor plan of Clearly labelled Clearly labelled Functional stage Stage map No stage map or
stage setup stage map stage map map indicating indicating props, some stage map
(where indicating indicating all all props furniture furniture and indicating some
applicable) accurate props, furniture and décor décor aspects of props,
placement of all and décor with furniture and
props, furniture some degree of décor.
and décor for detail
each scene with
a high degree of
detail
Floor plan of Clearly labelled Clearly labelled Functional stage Stage map No stage map or
lighting areas stage map stage map map indicating indicating lighting some stage map
(where indicating indicating placement of areas indicating some
applicable) accurate accurate lighting areas with aspects of lighting
placement of placement of basic day/night areas
lighting areas with lighting areas with and/or inside/
colour/ mood/ colour/mood/state outside indication
state for each in relation to each
scene with a high scene
degree of detail
Functionality of Clear neat well Clear neat well Clear neat well Some degree Confusing, not
script organized with organized and organized and of order and user friendly and
a high degree user friendly with user friendly sometimes user untidy
of detail and some degree of friendly not
extremely user detail always neat and
friendly organized

CAPS 77
DRAMATIC ARTS GRADES 10-12
PERFORMANCE EXAMINATION. THEME PROGRAMME RUBRIC.
LEVEL 1 2 3 4 5
% 1 - 34 % 35 - 49 % 50 - 69 % 70 - 79 % 80 - 100 %
Elementary/
Not achieved Adequate Meritorious Outstanding
moderate
Preparation The learner The learner The learner The learner has The learner
does not know knows most of knows the words mastered the has mastered
the words of the the words, shows of all the pieces, words, has a the words,
pieces, has no some confidence, is confident, and high degree of shows insight,
confidence, and/ and/or shows shows evidence confidence and is completely
or shows very limited evidence of some thought, shows evidence confident, and
little evidence of of thought, planning and of excellent shows evidence
thought, planning planning and rehearsal. thought, planning of outstanding
and rehearsal. rehearsal. and rehearsal. thought, planning
and rehearsal.
Vocal production The learner shows There is some There is good There is highly There is
no technical technical technical developed exceptionally
proficiency proficiency: proficiency. technical developed
(audibility/ Some vocal The vocal proficiency. Vocal technical
clarity). There is interpretation interpretation of interpretation of proficiency. Vocal
no evidence of of texts and text and vocal texts and vocal interpretation of
appropriate vocal vocal variation is variation is good. variation are texts and vocal
interpretation of evident. excellent. variation are
the text, and no exceptional.
vocal variation.
Stage space Does not use Use of stage Appropriate use Effective and Exceptional,
stage space space is of stage space in appropriate use of highly creative
appropriately and/ elementary, or each piece. stage space. and highly
or interestingly. inconsistently appropriate use of
appropriate. stage space.
Links Links are Some links. These All links are All links are All links are
inappropriate to are more or less accurately related distinctively distinctively
the theme, do not appropriate to the to the theme, and appropriate to the appropriate to the
enhance the flow theme, enhancing enhance the flow chosen theme chosen theme,
of the programme the flow of the of the programme and enhance enhance the flow
OR are absent programme within within an the flow of the of the programme
entirely. a limited range. adequate range. programme as a as a whole, and
whole. lend exceptional
creative
interpretation.
Understanding Demonstrates no Demonstrates Demonstrates Demonstrates Demonstrates
of pieces understanding a limited an adequate a good an excellent
of the work and understanding understanding understanding understanding
there is no or very of the work, of the work, of the work, of the work.
little interpretation and, within a and within a and within a Within an
and/or limited range, satisfactory range, wide range, extensive range,
characterization. interpretation and/ the interpretation interpretation and interpretation and
or characterisation and/or characterisation is characterisation is
is sometimes characterisation always accurate always accurate,
accurate and is mostly accurate and appropriate. appropriate and
appropriate. and appropriate. insightful.

78 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

PERFORMANCE EXAMINATION. THEME PROGRAMME RUBRIC.

LEVEL 1 2 3 4 5
% 1 - 34 % 35 - 49 % 50 - 69 % 70 - 79 % 80 - 100 %
Elementary/
Not achieved Adequate Meritorious Outstanding
moderate
Physical work Chooses Chooses Chooses an Chooses a Chooses a
inappropriate reasonably adequate range wide range of wide range of
movement or appropriate of appropriate appropriate movement or
stillness for each movement or movement and movement and stillness wholly
piece. There stillness for each stillness. stillness. appropriate to
is no range piece. There is each piece.
The body is The body is
of movement. little range of The body is
aligned and aligned and
Unnecessary movement. There well aligned
balanced and balanced
tension inhibits is unnecessary and balanced
is mostly free and is free of
performance. tension in the and is free of
of unnecessary unnecessary
body. unnecessary
tension. tension.
tension.
Emotional No connection Some connection Connects Connects Connects strongly
connection with the emotional with the emotional adequately with well with the with the emotional
tone of the tone of the work. the emotional emotional tone tone of the
work. Emotional Manages, within tone of the work. of the work. Very work. Excellent
choices are a limited range, to Appropriate good emotional emotional choices
inappropriate and/ make emotional emotional choices.
or unconvincing. choices. choices.
Connection to Unable to connect Partially able Connects Connects Connects
listener with co-actor, to connect with adequately consistently convincingly
invisible partner co-actor, invisible with co-actor, with co-actor, and consistently
and/or audience partner and/ invisible partner invisible partner with co-actor,
as listener. or audience or audience or audience invisible partner
as listener. as listener. as listener. or audience
Connection Connection Connection as listener.
partially adequately consistently Connection
sustained. sustained sustained. entirely sustained
in an engaging
performance.
Impact of Unengaging Partially engaging Adequately Consistently Exceptionally
programme performance performance and engaging engaging engaging
and content. content, with performance performance and performance and
Unconnected to some appropriate and content. content. Theme is content. Theme
theme. connections to Connected to the well explored. is creatively
theme. theme. explored
demonstrating
insight.
Performer’s No versatility, Little versatility Adequate Consistent Exceptional
impact in the with different with different versatility versatility versatility
programme styles, modes performance with different with different with different
and dramatic styles, modes performance performance performance
elements. and dramatic styles, modes styles, modes styles, modes
elements. and dramatic and dramatic and dramatic
elements. elements. elements.

CAPS 79
DRAMATIC ARTS GRADES 10-12
PERFORMANCE EXAMINATION. AUDITION PROGRAMME RUBRIC.
LEVEL 1 2 3 4 5
% 1 - 34 % 35 - 49 % 50 - 69 % 70 - 79 % 80 - 100 %
Elementary/
Not achieved Adequate Meritorious Outstanding
Moderate
Preparation The learner The learner The learner The learner has The learner
does not know knows most of knows the words mastered the has mastered
the words of the the words, shows of all the pieces, words, has a the words,
pieces, has no some confidence, is confident, and high degree of shows insight,
confidence, and/ and/or shows shows evidence confidence and is completely
or shows very limited evidence of some thought, shows evidence confident, and
little evidence of of thought, planning and of excellent shows evidence
thought, planning planning and rehearsal. thought, planning of outstanding
and rehearsal. rehearsal. and rehearsal. thought, planning
and rehearsal.
Understanding Demonstrates no Demonstrates Demonstrates Demonstrates Demonstrates
of pieces understanding a limited an adequate a good an excellent
of the work and understanding of understanding of understanding of understanding
there is no or very the work. Within the work. Within a the work. Within of the work.
little interpretation. a limited range, satisfactory range, a wide range, Within an
interpretation the interpretation interpretation is extensive range,
is sometimes is mostly accurate always accurate interpretation is
accurate and and appropriate. and appropriate. always accurate,
appropriate. appropriate and
insightful.
Characterisation Characters are At least one All characters All characters are All characters are
not developed character is are developed developed and developed and
through voice, developed through use sustained through sustained through
body, energy and/ through use of voice, body, use of voice, use of voice,
or internalisation. of voice, body, energy and/or body, energy and body, energy and
There is no energy and/or internalization. internalization. internalization.
transformation of internalization. There is There is There is
the learner from There is some transformation of considerable outstanding
piece to piece. transformation of the learner within transformation of transformation of
the learner within an adequate the learner from the learner within
a limited range. range. piece to piece. highly contrasting
pieces.
Vocal The learner shows There is some There is good There is highly There is
production no/little technical technical technical developed exceptionally
proficiency. proficiency: proficiency. technical developed
There is no/little Some vocal The vocal proficiency. Vocal technical
appropriate vocal interpretation and interpretation and interpretation and proficiency. Vocal
interpretation and communication of communication communication interpretation of
communication of texts, and some of texts and vocal of texts and vocal texts and vocal
texts, and no/little vocal variation is variation is good. variation are variation are
vocal variation. evident. excellent. exceptional.

80 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

PERFORMANCE EXAMINATION. AUDITION PROGRAMME RUBRIC.

LEVEL 1 2 3 4 5
% 1 - 34 % 35 - 49 % 50 - 69 % 70 - 79 % 80 - 100 %
Elementary/
Not achieved Adequate Meritorious Outstanding
Moderate
Stage space Does not use Use of stage Appropriate use Effective and Exceptional,
stage space space is of stage space in appropriate use highly creative
appropriately and/ elementary, or each piece. of stage space and completely
or interestingly. inconsistently through whole appropriate use
appropriate. programme. of stage space
through whole
programme.
Physical Chooses Chooses Chooses an Chooses a Chooses a
work inappropriate reasonably adequate range wide range of wide range of
movement or appropriate of appropriate appropriate movement or
stillness for each movement or movement and movement and stillness wholly
piece. There stillness for each stillness. stillness. appropriate to
is no range piece. There is each piece.
The body is The body is
of movement. little range of The body is
aligned and aligned and
Unnecessary movement. There well aligned
balanced and balanced
tension inhibits is unnecessary and balanced
is mostly free and is free of
performance. tension in the and is free of
of unnecessary unnecessary
body. unnecessary
tension. tension.
tension.
Emotional No connection Some connection Connects Connects well Connects strongly
connection with the emotional with the emotional adequately with with the emotional with the emotional
tone of the tone of the the emotional tone of the tone of the
work, through work, through tone of the work, through work, through
visualization, visualization, work, through visualization, visualization,
emotional emotional visualization, emotional emotional
engagement engagement emotional engagement engagement
and/or playing of and/or playing engagement and playing of and playing of
subtext. Emotional of subtext. and/or playing subtext. Very subtext. Excellent
choices are Manages, within of subtext. good emotional emotional
inappropriate and/ a limited range, to Appropriate choices. choices.
or unconvincing. make emotional emotional
choices. choices.
Connection to Unable to connect Partially able Connects Connects Connects
listener with co-actor, to connect with adequately consistently convincingly
invisible partner co-actor, invisible with co-actor, with co-actor, and consistently
and/or audience partner and/ invisible partner invisible partner with co-actor,
as listener. or audience or audience or audience invisible partner
as listener. as listener. as listener. or audience
Connection Connection Connection as listener.
partially adequately consistently Connection
sustained. sustained. sustained. entirely sustained
in an engaging
performance.

CAPS 81
DRAMATIC ARTS GRADES 10-12
PERFORMANCE EXAMINATION. AUDITION PROGRAMME RUBRIC.
LEVEL 1 2 3 4 5
% 1 - 34 % 35 - 49 % 50 - 69 % 70 - 79 % 80 - 100 %
Elementary/
Not achieved Adequate Meritorious Outstanding
Moderate
Versatility of No versatility Little versatility Adequate Consistent Exceptional
learner with different with different versatility versatility versatility
performance performance with different with different with different
styles, modes styles, modes performance performance performance
and dramatic and dramatic styles, modes styles, modes styles, modes
elements. elements. and dramatic and dramatic and dramatic
elements. elements. elements.
Impact of Unengaging Partially engaging Adequately Consistently Exceptionally
programme performance performance engaging engaging engaging
and content, and content, performance performance performance
demonstrating no demonstrating and content, and content, and content,
creativity and/or a little creativity demonstrating demonstrating demonstrating
insight. and/or insight. occasional sustained sustained,
creativity and creativity and outstanding
insight. insight. creativity and
insight.

3.8 General

This document should be read in conjunction with:

3.8.1 National policy pertaining to the programme and promotion requirements of the National Curriculum Statement
Grades R-12; and

3.8.2 The policy document, National Protocol for Assessment Grades R-12.

82 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)

 DRAMATIC ARTS GRADES 10-12

CAPS 83
DRAMATIC ARTS GRADES 10-12

84 CURRICULUM AND ASSESSMENT POLICY STATEMENT (CAPS)