CREATIVE ARTS: SENIOR PHASE
EXEMPLAR DRAMA EXAM QUESTIONS FOR ANALYSIS AND REFLECTION
1. Identify the Drama topic/s explored in the questions
2. Consider the types of questions below
3. Comment on the difficult level of each question
Paragraph questions
1. You have received an award for excellent performance in Creative Arts (Drama)
Grade 7. You have to deliver a short speech in which you share the highlights of
your Grade 7 Creative Arts experience. Give an account of your speech in a
short paragraph of approximately 60 to 80 words. You may refer to the following:
o
o
o
o
what you have learnt that was enriching and would add value to your life
aspects you want to celebrate and/improve on and/ change
why it is important to be exposed to the arts (Drama) at school
advice to fellow learners studying Drama
(15)
Rubric to assess paragraph
Marks
13 - 15
Code
Outstanding
10 -12
Good
8-10
Average
6-7
Adequate
0-5
Weak
Descriptor
Learner able to answer comprehensively with relation to
Creative Arts concepts and skills acquired during the year.
The language (terminology) of the arts is used with
exceptional skill. The paragraph is a detailed rendition of
the learner’s critical reflection on his/her Creative Arts
experiences.
Learner able to answer with relation to various Creative Arts
concepts and skills acquired during the year. The language
(terminology) of the arts is used. The paragraph is a
rendition of the learner’s reflection on his/her Creative Arts
experiences.
Learner able to answer by stating general experience in
Creative Arts and using some reference to Creative Arts
concepts and skills. Limited arts terminology is used. The
paragraph is a rendition of the learner’s reflection on some
of his/her Creative Arts experiences.
Candidate answers at superficial level, rewriting the
question and making general and at time vague
comments. The paragraph lacks unity and consists of a
series of statements. Experiences in Creative Arts are listed
to an adequate extend, but lacks depth.
Candidate answers by rewriting question. Reference to
Creative Arts experiences is vague and not accurate.
Weak writing skills, not coherent.
1
DRAMA: characterisation
1. Your teacher comments on your performance of a dramatic piece:
“A life-like character – very convincing, the audience can believe in the
character!”
1.1 Explain how you have developed a convincing (believable) character by
focusing on the following:
 Mannerisms
 Body Language
 Facial expressions
(3X2=6)
Memorandum
1.1
Any answer that justifies the statement could be accepted.
An actor can develop a character by observation and imitation. It is helpful
to focus on the following when developing the character:
 Mannerisms : specific movements and characteristic traits to a person, should
be functional, economic and varied
 Body Language: showing different expressions through the body
 Facial expressions: showing mood and emotion
(3X2=6)
1.
Look at the diagram below that shows basic staging conventions. Complete
the diagram by filling in the missing words. Make sure you write the correct
term next to the appropriate number (1.1.1 – 1.1.5) in your answer book.
backstage
wings
(off
stage
right)
upstage
right
1. 1
upstage left
stage right
1.2
stage left
1.3
1.4
1.5
wings
(off
stage
left)
audience
auditorium
(5)[15]
2
1.1
1. 2
1. 3
1. 4
upstage
centre stage
down stage right
down stage
1. 5
down stage left
(5)[15]
“The Prime of Miss Jean Brodie”
(Mr. Adrian Skelly – Rustenbutg GHS)
The following questions refer to ADDENDUM A overleaf:
1.1
Name the two characters featured in this photograph.
(2)
1.2
Focus carefully on the characters’ facial expressions and use of body
language. Explain what these two reveal about the relationship between the
characters.
(2 + 2 = 4)
3.5.
Comment on the very obvious change in costume of the character on the
right-hand side in this final scene of the production.
(4)
ADDENDUM A: Photograph
This photograph was taken during a rehearsal of Rustenburg’s production of “The
Prime of Miss Jean Brodie”
3
Two characters below meet each other at midnight and talk for five minutes.
They exchange a parcel and leave each other, worried they will be seen in each
other’s company.
1.1 Write a script in the correct format for this three-five minute scene.
You must decide on character, situation and conflict.
 The rubric below will be used to assess you.
(20)
(20)
Rubric to assess script
Criteria
The script followed the prescribed
format with characters, dialogue
and stage directions
Script embraces dramatic
elements such as grouping,
shape and climax to
communicate meaning and
feeling
Script is creative, original and
exciting and offers much
opportunity for dynamic
interpretation in a stage
production
Script shows development of
character.
Level 4 [4]
Outstanding
script format.
Level 3 [3]
Good script
format.
Level 2 [2]
Fair script format.
Level 1 [1]
Poor script
format.
Outstanding
structure.
Good structure.
Fair structure.
Poor structure.
Exceptionally
creative and
exciting.
Creative and
exciting.
Fairly creative
and exciting.
Not very creative
and exciting.
Characters well
developed,
with interesting
characteristics.
A good attempt
at character
development;
some attention to
their individual
characteristics.
An attempt at
character
development;
little attention to
individual
characteristics.
A poor attempt
at character
development; no
attention to
individual
characteristics
Script shows development of
situation with conflict.
Situation well
developed
with interesting
conflict
evident.
Situation
developed with
some conflict
evident.
Situation fairly
well developed,
but more conflict
needs to be
evident.
Situation poorly
developed with
no conflict
evident.
(20)
4
1. Study sketch A below of a production team that is responsible for a
performance of a play:
Sketch A
PROPS MASTER
LIGHTING DESIGNER
CHOREOGRAPHER
DIRECTOR
SET DESIGNER
Give a short description of the function of each of the following people working in
the theatre:
1.1 Props Master
(2)
1.2 Choreographer
(2)
1.3 Director
(2)
1.4 Set Designer
(2)
1.5 Lighting Designer
(2)(10)
Memorandum
1.1 Props Master: Designs, creates, collects and buys the necessary props for the
play. Ensure that that all the hand props are laid out on a table in labeled areas
for actors to use during the play. Keeps an inventory of all the props needed for
each actor. Ensure that props that are broken are mended and ready for every
performance.
(2)
1.2 Choreographer: Responsible for designing and creating of all the dances for the
performers in a musical or gives advice on movement for characters and use of
the stage space in a play. In larger productions, the choreographer turns
rehearsals over to an assistant choreographer called the dance captain.
(2)
5
1.3 Director: The director is usually hired by the producer. He/she will often express
what the producer wants the play to say. Directors take the text and make it
come alive. He/she interprets the text through the use of actors and designers.
The director analyses the text and create a vision for bringing it to life. The
director works with the producer, and they hire a design team: the sets,
costumes, lights, props. The most important thing about really good directors is
that they are all very good collaborators. It takes lots of people to create a
successful show, and the director is the liaison between all of them. The director
works with the Actors, Stage Manager, the Producer, the Costume Designer, the
Set Designer, the Lighting Designer, the Sound Designer, and if it is a musical, the
Musical Director and the Choreographer to create the final product. The director
has the final say on matters of the creative concept and it is his job to
communicate openly with everyone involved, and stay on budget.
(2)
1.4 Set Designer: Designs the set on stage. The set is motivated by the content of
the play. The set is the immovable structure on stage and can be symbolic or
realistic. He/she turns the director’s creative concepts into reality through the
design and construction of the set.
(2)
1.5 Lighting Designer: designs the sequence of light changes from beginning to end.
The lighting adds atmosphere, indicates the time of day and enhances the
mood of the play.
He/she turns the director’s creative concepts into reality through the use of
lighting.
(2)(10)
1. Read the extract from the poem Excursion by Sally-Ann Murray where she
describes the view from a car on the N2 in Durban and answer the questions that
follow:
Here chokes the Mgeni, wending, unwinding its length
along lives half hidden: drums, tin, plastic, wattle; shacks
made homely with cooking and kids and the slow strength
of living that’s flapped in the washing, mapped in the tracks
1
between stands. But which view is staged
by the traveling eye as the land is razed
in a daze of speeding? Billboards flash futures, signs graze
the gaze without staining the fingers
5
1.1
Explain how you would speak lines 1 & 2 (‘Here chokes … wattle;’) to draw
attention to the Mgeni (the polluted river).
(4)
1.2
What is the function of the semi-colon (;) in line 2.
1.3
Describe how and why you would use variety in pace when performing lines
2-4 (‘shacks made homely…in the tracks’)
(4)
(2)
6
1.4
Refer to the underlined words in stanza 2 (lines 5-8). The ‘ze’ sound is
repeated. Discuss how this would affect your performance of the poem?
(5)
1. Reflect on an improvised scene you have performed this year, and answer
the following:
a)
b)
Clearly explain what to improvise means.
[4]
Explain how you have applied the following to ensure a successful and
believable performance:
i)
vocal projection
[6]
ii)
use of movement
[10]
iii)
characterisation
[10]
[30]
During this year’s practical work you have worked on an individual dramatised
prose. In a short essay of approximately 120 words describe and explain the
following:
a)
How you communicate the aspects of your different characters across to
your audience by using movement, action, verbal communication, props (if
any)?
[5]
b)
The climax of your prose and how you build towards it.
c)
Explain the problems you faced in terms of:
i)
interpretation of your piece
ii)
vocal range
[5]
[5]
[5]
[20]
Write any essay of approximately 20 lines discussing how you personally have
benefited from the work done in Drama Practical.
[15]
1
MILLY
DON
MILLY
DON
MILLY
DON
MILLY
DON
Read the extract from People Are Living There below and answer the
questions which follow:
Will you stop trying to make me satisfied with nothing.
I think we had a fair run for our money.
We’ve had one dirty riddle, and the spectacle of you
Gusting yourself on my money.
If I pay you back my share will you call it quits?
You’ll pay me back your share by making me laugh.
Milly, please! I’m being serious.
That makes two of us.
I know, and that’s why I’m nervous. It won’t work.
1
5
7
MILLY
DON
MILLY
DON
MILLY
DON
MILLY
DON
MILLY
SHORTY
MILLY
DON
SHORTY
Take my advice and call it a day. Nothing’s happened yet….
Exactly!
[trying to ignore her] We’re intact, in shape. We can still retire
with grace. But beyond this lies the point of no return.
Good! I’ve always hated going back.
For the last time I’m warning you – this is getting dangerous.
Coward!
All right.
Yellow belly!
[standing] If that’s the way you feel about it, I’ll leave the two
Of you…..
Just you try! [Don stops.] Just you try!
[trying to pour oil on troubled waters] Please, chaps.
[to Don] So sit down and shut up, because here we go.
[With growing aggression] To start off with, there’ll be a
sing-song.
I flatly refuse.
Don, please, man!
10
15
20
25
1.1.1
Which word would Milly emphasise in Lines 3 and 4? Give a reason for your
answer.
[2]
1.1.2
Where in the extract would you find a rising inflection? Write down the line
number and give a reason for your answer.
[2]
1.1.3
What does the ellipsis in line 10 suggest for the actors in terms of delivery of
the lines?
[1]
1.1.4
What gestures would you suggest for the actors on the following lines? Give a
reason for your answer.
a)
Shorty’s Line 22: “Please, chaps.”
b)
Don’s Line 26: “I flatly refuse.”
c)
Milly’s Line 18: “Yellow Belly”
[6]
1.1.5
How would Shorty say Line 27? Why?
[2]
1.1.6
What is the general pace of this extract? Explain your answer.
[3]
1.1.7
How would an actress playing Milly show the “growing aggression” indicated
in the stage directions? (Line 24).
[2]
1.1.8
During this scene, the actors are, for the most part, seated around a table.
What challenges would this pose for the actors in their performance?
[2][20]
1. You are adjudicating at the inter–house drama festival at your school and must
address the following speech faults in your comments. Suggest two exercises to
improve the following:
8
o
o
o
mumbling
breathy tone
too soft voice
(6)
Mumbling – two articulation exercises
1. BP GK DT,
2. babbedy-bebbedy-bibbedy-bobbedy-bubbedy
pappety-peppety-pippety-poppety-puppety
gaggedy-geggedy-giggedy-goggedy-guggedy
kakkety-kekkety-kikkety-kokkety-kukkety
daddedy-deddedy-diddedy-doddedy-duddedy
tattety-tettety-tittety-tottety-tuttety
Any other articulation exercise
(2)
Breathy tone - two breathing exercises
1. In a relaxed position, keeping your shoulders weighted down, breathe in to
the count of four, hold for four and exhale counting to four slowly.
Repeat, breathing in for four, hold for four and then count orally to five.
Repeat extending the oral counting to 6, 8, and 10 .
2. Try saying the following groups of words on one breath, on a quiet, but
sustained tone:
 1 –10
 the days of the week
 the months of the year
Any other breathing exercise
(2)
Too soft voice - two projection exercises
Visualise that your voice is a stream of paint.
Decide on the colour of you voice (paint).
Say: ‘Away to the woods on the wings of the wind!’
“Paint” the person in front of you with your voice.
Then breathe and “paint” five meters / ten meters away – to the back of the
room.
Call as if from a distance – prolong vowel sounds, guard against
shrillness
– Wait for me!
– Yoo hoo! Ho there!
Any other exercise to improve projection
(2)[6]
1. Read the extract below and explain how you and one or two partners would
present this. Refer to the following in your discussion:
9
1.1
1.2
1.3
1.4
1.5
Use of voice to characterise
Use of the body to characterise
Use of pace – refer to examples from the extract
Use of pause – refer to examples from the extract
Use of projection – refer to examples from the extract
“Hey, my spaghetti’s moving!” cried Mr. Twit, poking
around in it with his fork.
“It’s a new kind”, Mrs. Twit said, taking a mouthful
from her plate which of course had no worms. “It’s
called squiggly spaghetti. It’s delicious. Eat it up while it’s nice and hot.”
“It’s not as good as the ordinary kind” he said
talking with his mouth full. “It’s too squishy.”
“I find it very tasty”, Mrs. Twit said. She was
watching him from the other end of the table. It gave
her great pleasure to watch him eating worms.
“I find it rather bitter”, Mr. Twit said.
“It’s got a distinctly bitter flavour. Buy the other kind next time.”
1.
1.1
1.2
(4)
(4)
(2)
(2)
(2)[14]
1
5
10
Application to extract: could refer to two characters and narrator
Vocal characterisation
Show differences between characters in voice – tone and pitch, refer to
vocal qualities of each character. Credit to creative thinking and application.
(4)
Physical characterisation: could refer to two characters and narrator.
Indicate differences between characters with regard the body language,
gestures, facial expression. Refer to both characters. Credit to creative and
innovative thinking.
(4)
1.3
Use of pace – refer to examples from the extract
Refer to examples from text where pace would be faster or slower. Motivate
answer.
(2)
1.4
Use of pause – refer to examples from the extract
Refer to examples from text where pause would be used for emphasis,
anticipation, create meaning, to breathe. Motivateyour answer.
1.5
(2)
Use of projection – refer to examples from the extract
Refer to examples from text where projection would be used for emphasis, to
create meaning. Motivate answer
(2)[14]
10