Dramatiese Kunste
Skool Gebasseerde Assessering
Graad 12
Praktiese Assesserings Taak
7
Voorbeeld
Eind Jaar Eksamen
Opvoerings Afdeling 150 Punte
INHOUD:
1. LESPLANNE VIR VOLGENDE DIE ONDERWERPE:
Onderwerp 2: (vervolg) Voorbereiding vir die Finale Opvoerings Eksamen
Oudisie Program OF
Tema Program
OF
Tegniese Teater Program
Geïntegreerde opvoering
2. OPDRAG VIR DIE ASSESSERINGS TAAK 7
Opvoerings Eksamen Prosedures en Prosesse
Oudisie Program OF
Tema Program
OF
Tegniese Teater Program
3. ASSESSERING VAN ASSESSERINGS TAAK 7
Matrikse vir:
Oudisie Program OF
Tema Program
OF
Tegniese Teater Program
LESPLAN
ONDERWERP: 2
VOORBEREIDING VIR DIE FINALE EKSTERNE OPVOERINGS EKSAMEN
 OUDISIE PROGRAM
OF
 TEMA PROGRAM
OF
 TEGNIESE TEATER PROGRAM
GEINTEGREERDE OPVOERING
KURRIKULUM- EN ASSESERINGSBELEIDSVERKALRING
VAK
DRAMATIESE KUNSTE
FASE
VERDERE ONDERWYS EN OPLEIDING VOO
GRAAD
12
YAAR
201
KWARTAAL
WEEK
KURRIKULUM INHOUD EN ASSESSERING WAT GEDEK MOET WORM DEUR DIE TAAK
FASE
BREE ONDERWERP:
VOO
KWARTAAL 3
GRAAD 12
PERSOONLIKE HULPBRONONTWIKKELING
TONEELSPEL EN AANBIEDING
OPVOERINGSTEKSTE IN KONTEKS
TEATER- EN/OF FILMPRODUKSIE
Onderwerp 2 (vervolg)
Voorgestelde
kontaktyd
14 ure
Aanbevole Tekste / Hulpbronne
• Dramatiese Kunste Graad 12 DBO goedgekeurde Teksboek
• Notas deur onderwyser voorsien
Voorbereiding vir die
Finale Opvoerings
• Gepubliseerde en geloofwaardige naslaanboek oor Stem, Spraak en
Eksamen
Liggaams beweging
OF
• Opvoerings Eksamen proses-dokument (NKV)
• Tema Program
• Keuse van a reeks van Dramatiese en Kulturele Forme en Style
• Oudisie Program OF
Tegniese
Program:
• Uittreksels van gepubliseerde kontemporere Suid Afrikaanse Toneelspel Tekste
•
Geïntegreerde opvoering
Inhoud / Konsepte / Vaardighede
Verfyn Stem- en Liggaamsvaardighede
Pas vertolkende vaardighede en opvoertegnieke toe
Demonstreer ontwikkeling in bedrewenheid om verskillende style en opvoeringsvorms te hanteer
Werk kolaboratief
Prakties
• Pas vertolkende vaardighede en opvoertegnieke toe op al drie stukke
• Demonstreer ontwikkeling in die bemeestering van verskillende dramatiese en kulturele vorme en style vir opvoering
• Werk in ’n groep of individueel om ’n geïntegreerde opvoering te skep
• Pas gepaste ontwerpelemente op die program toe
Sien Onderwerp 2 hierbo vir detail
Nota aan onpvoeders
Hierdie is die hoogtepunt/kulminering en integrasie van al die praktiese werk wat in Graad 10-12 gedoen is
INSTRUKSIES
Dit is absoluut noodsaaklik dat opvoeders GEDETAILLEERDE instruksies vir hierdie opskrif tik. Hierdie instruksies MOET spreek tot die
KABV-onderwerp hierbo in die lesplan!!!!!!!! Hierdie lesplan sal gemodereer word vir die gehalte en die standaard van die DETAIL. Gebruik
jou handboek: Via Afrika Dramatiese Kunste Graad 11. Onderwyser- en leerderboeke
AKTIWITEITE
Dit is absoluut noodsaaklik dat opvoeders GEDETAILLEERDE instruksies vir hierdie opskrif tik. Hierdie instruksies MOET spreek tot die
KABV-onderwerp hierbo in die lesplan!!!!!!!! Hierdie lesplan sal gemodereer word vir die gehalte en die standaard van die DETAIL. Gebruik
jou handboek: Via Afrika Dramatiese Kunste Graad 11. Onderwyser- en leerderboeke
INSTRUKSIES
ASSESSERINGSTAAK 7
ONTWERP VANUIT LESPLAN VIR ONDERWERP 2
OPVOERINGS AFDELING
VOORBEREIDING VIR DIE OPVOERINGS EKSAMEN
MONOLOOG, UITTREKSEL, GEDIG
INSTRUKSIES:
Inhoud / Konsepte / Vaardighede
Verfyn Stem- en Liggaamsvaardighede
Pas vertolkende vaardighede en opvoertegnieke toe
Demonstreer ontwikkeling in bedrewenheid om verskillende style en opvoeringsvorms te hanteer
Werk kolaboratief


Die inhoud en inligting vir die 3 kontrasterende drama items eg: Monoloog, Uittreksel en Gedig
voorbereiding, moet elke punt onder die opskrifte ‘Teorie’ en Prakties’ vir Onderwerp 2, insluit.
Sien:
Onderwerp 2 vervolg
Voorbereiding vir die Finale Opvoerings Eksamen
OF
• Tema Program
OF
• Oudisie Program
Tegniese
Program
•
Geïntegreerde opvoering
Individuele en Groep opvoering



Die inhoud en inligting vir die 3 kontrasterende drama items eg: Monoloog, Uittreksel en Gedig
voorbereiding moet elke punt onder die opskrifte ‘Teorie’ en Prakties’ vir Onderwerp 2, insluit.
Gebruik die Eksamen Riglyne Document se ‘Prosedures en Prosesse’ afdelings om te verseker
al die Voorgeskrewe aspekte vir die format van die Tema Program / Oudisie Program of die
Tegniese Teater Program is gedek.
Gebruik die Eksamen Riglyne Dokument vir die Matrikse vir die Tema Program of die Oudisie
Program of die Tegniese Teater Program (Verhoogbestuur, Ontwerp en Regie), om te verseker
dat al die vaardighede wat geeksamineer gaan word, gedek is.
ASSESSERING
ASSESSERINGSTAAK 7
ONTWERP VANUIT LESPLAN VIR ONDERWERP 2
OPVOERINGS AFDELING
VOORBEREIDING VIR DIE OPVOERINGS EKSAMEN
MONOLOOG, UITTREKSEL, GEDIG
Performance Examination Options
This section will provide clarity towards the successful implementation and achievement of the Performance
Examination; from planning to inception to performance to recording and finally reporting.
The Performance Examination is internal for Grades 10 and 11 and external for Grade 12.
There are three options available for candidates to select for their Grade 12 Performance Examination:
1. Theme Programme
Or
2. Audition Programme
Or
3. Technical Theatre Programme:
 Design
Or
 Directing
Or
 Stage Management
Or
 Film
Theme Programme. Process and Format for standardisation across provinces
These instructions for the design, content, process, preparation and final product ensure a standardised Theme
Programme format across all nine provinces.
Candidates, facilitated by the educator, should discuss and adhere the following:
1. At the beginning of the process, discuss the format of the Theme Programme and the process of creating and
maintaining entries for each individual candidate`s Performance Examination Journal / Portfolio as a written record of
both the preparation as well as the performance component.
2. It is essential to consult the CAPS Topic for the Performance Examination and the Theme Programme , to ensure that
this journal / portfolio contains all the Concepts / Content / Skills / Theory and Practical aspects required by the
Curriculum.
3. In the event of a candidate not being able to participate in the performance examination, the educator, external
examiner/moderator and examination panel will use this written record and the educator’s assessment of the practical
work in progress to determine the candidate’s mark.
4. With the help of the educator and their group, each candidate must select three contrasting items to perform for
their Theme Programme.
5. Candidates are only allowed to use published drama items (prose, poem, monologue etc).
6. Be aware of social, cultural, personal and religious sensitivities of other people when selecting a drama item.
7. At least one of these drama items should be from a South African Dramatic Form / Style / Genre.
8. The remaining two drama items should represent a different Dramatic Forms / Styles / Genres, such as Indigenous
Drama, Comedy, Tragedy, Farce, Commedia dell’ Arte, Greek Theatre, Realism, Elizabethan Theatre, Epic Theatre,
Theatre of the Absurd, Post Modern Theatre etc.
9. Consider the candidate’s strength, and preference in the decision making. Versatility is a key element of the Final
External Performance Examination.
10. Divide the candidates into groups of four to six members.
11. Each group brainstorms a range of possible themes and selects one final theme at the end of the process.
12. Apply interpretative and performance skills to the selected drama items and to the respective Dramatic Forms / Styles
and Genres, unique to each of these drama items.
13. Create suitable links between the items of the whole group.
14. The length of the Theme Programme should be approximately five minutes per candidate.
15. Decide, where applicable and appropriate, what technical elements and minimal costumes or props may be required
and rehearse these into the Theme Programme. The flow of the Theme Programme must not be hampered by
costume changes etc. Note that the use of technical elements and costume items will not be examined.
16. Rehearse the Theme Programme towards a final performance of excellence.
17. As soon as possible, secure a day and time for the performance examination that will be suitable for all stakeholders:
candidates, educator, school and external examiner/moderator. The day, time and venue for the Performance
Examination will in some provinces be communicated by the Area Offices / Region / District / Provincial Unit. In other
provinces educators may select their own day and time and communicate this to the Curriculum Advisor and External
Examiner/Moderator
18. Dress code: standard black attire (T-shirt and pants or skirt) may be worn. No personal jewellery may be worn. Where
applicable long hair should be tied back, away from the face. 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 serves as
identification for the educator, external examiner / moderator and exam panel.
19. For examination purposes, each group of candidates must compile a completed hard copy script of the drama items
that will be performed for their Theme Programme examination.
20. In cases where candidates selected a drama item in any language other than the LOLT (Language of Learning and
Teaching) for performance; this drama item should be translated into the language of instruction: Dramatic Arts or
Dramatiese Kunste, and included as such in the Theme Programme hard copy script.
Audition Programme. Process and Format for standardisation across provinces
These instructions for the design, content, process, preparation and final product ensure a standardised Audition
Programme format across all nine provinces.
Candidates, facilitated by the educator, should discuss and adhere to the following:
1. The Audition Programme is not an easy option and only candidates that are well supported by educators or dedicated,
determined, top performers may do this Examination.
2. The Curriculum Advisor / Subject Advisor / Senior Education Specialist in each of the 9 Provinces may request
educators to submit a written letter of permission before a candidate may do the Audition Programme for their Final
External Performance Examination.
3. At the beginning of the process, discuss the format and Rubric of the Audition Programme. The process of creating
the programme should be documented in each individual candidate`s Performance Examination Journal / Portfolio.
This is not an additional Journal / Portfolio, but the same one that is being used for the reflections and entries of work
done during the year. Ensure that this Journal / Portfolio contains all the Concepts / Content / Skills / Theory and
Practical aspects required by the Curriculum.
4. In the event of a candidate not being able to participate in the performance examination, the educator, external
examiner/moderator and examination panel will use this written record, as well as the teacher’s assessment of the
practical work in progress, to determine the candidate’s mark.
5. With the help of the educator, each candidate must select three contrasting items to perform for their Audition
Programme and, although this is an individual performance, one of the three selected drama items must be a scene
from a suitable published play. This scene must be acted with another candidate, who will take the role of the second
character, to demonstrate competency with interactive drama skills.
6. Candidates are only allowed to use published drama items (prose, poem, monologue etc)
7. From the three drama items, whether individual or the scene, at least one should be from a South African Dramatic
Form / Style / Genre.
8. The two remaining drama items, whether individual or the scene, must each represent a different Dramatic Form /
Style / Genre, such as Indigenous Drama, Comedy, Tragedy, Farce, Commedia dell’ Arte, Greek Theatre, Realism,
Elizabethan Theatre, Epic Theatre, Theatre of the Absurd, Post Modern Theatre etc.
9. Be aware of social, cultural, personal and religious sensitivities of other people when selecting a drama item.
10. Consider the candidate’s strength and preference in the decision making. Versatility is a key element of the Final
External Performance Examination.
11. Apply interpretative and performance skills to the three selected drama items and to the respective Dramatic Forms /
Styles and Genres, unique to each of these drama items
12. Create suitable links or transitions between the three drama items
13. The length of the Audition Programme should be approximately five to ten minutes.
14. Decide, where applicable and appropriate, what design and technical elements may be required, rehearse these into
the Audition Programme. Candidates may select minimal and representative costumes and props to assist in
characterisation. The flow of the Audition Programme should, however, not be hampered by costume or scene
changes, Note that the use of technical elements and costume items will not be specifically examined.
15. Rehearse the Audition Programme towards a final performance of excellence.
16. As soon as possible, secure a day and time for the performance examination that will be suitable for all stakeholders:
Candidates, Educator, School and External Examiner/Moderator. This date should be on the same day as the other
candidates` Theme Programme / Technical Theatre Programme examinations.
17. The day, time and venue for the Final External Performance Examination will, in some provinces, be communicated
by the Area Offices / Region / District / Provincial Unit. In other provinces educators may select their own day and time
and communicate this to the Curriculum Advisor and External Examiner / Moderator.
18. Dress code: standard black attire (T-shirt and pants or skirt) may be worn. No personal jewellery may be worn. Where
applicable long hair should be tied back, away from the face.
19. For examination purposes, each individual candidate must compile a completed hard copy script of the drama items
that will be performed for their Audition Programme examination
20. In cases where the candidate selected an drama 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.
Technical Theatre Programme. Process and Format for standardisation across provinces
These instructions for the design, content, process, preparation and final product ensure a standardised Technical
Theatre Programme format across all nine provinces.
This Programme consists of four options. See CAPS document
 Design Elements Programme Or
 Directing Programme
Or
 Stage Management Programme
Or
 Film Making Programme
Candidates, facilitated by the educator, should discuss and adhere the following:
1. The Technical Theatre Programme is not an easy option and only candidates that are dedicated determined and have
demonstrated an exceptionally high level of competence in Design Elements/Directing / Theatre Making /Film
Making/Stage Management skills from Grade 10 may choose this option. This is not an option for candidates who struggle
in Dramatic Arts.
2. Written permission needs to be obtained from the Provincial Curriculum Advisor / Subject Advisor / Senior Education Specialist
before a candidate may do the Technical Theatre Programme for their final External Performance Examination. This must
be presented to the External Examiner on the day of the Final External Performance Examination.
3. At the beginning of the process, discuss the format of the Technical Theatre Programme. The structure and content of the
Notebooks for the Designer / Director / Film Maker / Stage Manager / Theatre Maker should be planned and finalised by
the educator in collaboration with the Curriculum Advisor for Dramatic Arts at the beginning of the year.
4. The process of creating the Technical Theatre Programme must be documented in each individual candidate`s
designated Notebook. This has to be a continuous record of the candidates work. This will be presented to the educator,
External Examiner/Moderator and the Examination Panel and used to determine part of the candidate’s mark.
5. Make a DVD recording of the process. This DVD must be submitted to the External Examiner before the day of the
examination.
6. It is essential to consult the CAPS Topic, the DBE Approved Dramatic Arts Textbook and Rubrics for the Technical
Theatre Programme to ensure that the Notebooks for the Designer / Director / Film Maker / Stage Manager / Theatre
Maker contain all the Concepts / Content / Skills / Theory and Practical aspects required by the CAPS Curriculum.
7. The focus of the Technical Theatre Programme will be on the ingenuity, versatility and creativity of candidates in
improvising around available resources, in order to create an extensive and effective visual / aural environment, using
several design elements, rather than on the sophistication of technical resources or the operation ability of a candidate, for
example, to operate the lighting board or sound system.
8. To ensure that the Technical Theatre Programme option is comparable in range, weighting and complexity to the Audition
Programme and the Theme Programme option, ccompetence should be demonstrated in the School Based Assessment
PAT Tasks e.g: Journal, Essay, Research, Short Directed Performance, Control Test and even a Written or Performance
Examination.
9. The Examination Panel will interview the Design Elements/Directing / Theatre Making /Film Making/Stage Management
candidate to examine creative decisions and interpretation and choices in concepts and style made by the candidate. It is
recommended that the cast (except for the Design elements option) of the play also be present to answer questions about
the production and their experiences in it.
10. The Technical Theatre Programme has four options:
a) Design Elements candidate
Include the following in your Designer Notebook: the selected play, extensive and detailed research, preliminary and final
technical plans, sketches (with artistic motivations) of the set, costume, music, sound effects, special effects, properties,
lighting, make-up etc. Also include written information on the Role of the Designer and context of the play (social, political,
religious, economic, artistic, historical, theatrical) etc.
b) Director candidate
Include the following in your Director Notebook: extensive and detailed research on the play, script analysis, given
circumstances, character objectives & obstacles, character relationships, theme analysis, production vision, production
designs (preliminary and final technical plans and sketches such as set, set pieces, costume lighting, sound, properties
etc.(with artistic motivations),acting (e.g. Stanislavski) terminology, performance space, staging conventions etc. Also
include written information on the Role of the Director.
c) Film Making candidate
Include the following in your Film Making Notebook: the selected film text, extensive and detailed research, storyboard of
the film text, preliminary and final technical plans, sketches (with artistic motivations) of the locations and settings,
costumes, music, sound effects, special effects, properties, lighting, make-up etc. During you interview be prepared to
share the editing process decisions. Also include written information on the Role of the Film Maker
d) Stage Manager candidate
Include the following in your Stage Manager Notebook: prompt script, extensive and detailed research, preliminary and
final technical plans, sketches and or lists (with artistic motivations) of the set, floor plan of stage setup, costumes, lighting,
sound, props, furniture, cast with contact numbers, sound and lighting cues, blocking, scene changes, map of layout of
props, cast and technical calls, opening and closing procedures, etc. Also include written information on the Role of the
Stage Manager.
e) Theatre Maker candidate
Include the following in your Theatre Maker Notebook: extensive and detailed research on the theme of the envisaged
play, improvisational techniques, scripting procedures, given circumstances, character objectives & obstacles, character
relationships, theme analysis, production vision, production designs (preliminary and final technical plans and sketches
such as set, set pieces, costume lighting, sound, properties etc.(with artistic motivations),acting (e.g. Stanislavski)
terminology, performance space, staging conventions etc. Also include written information on the Role of the Theatre
Maker.
11. As soon as possible, secure a day and time for the performance examination that will be suitable for all stakeholders:
Candidates, Educator, School and External Examiner/Moderator. This date should be on the same day as the other
candidates` Theme Programme / Audition Programme examinations
12. The day, time and venue for the Final External Performance Examination will, in some Provinces, be communicated by the
Area Offices / Region / District / Provincial Unit. In other Provinces, educators may select their own day and time and
communicate this to the Curriculum Advisor and External Examiner/Moderator
13. 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 Programme and Audition Programme. Rubric
This rubric will ensure that marking is standardised across the provinces
Level
7
90 –
100%
A+
7
80 – 89%
A
6
75 – 79%
B+
6
70 – 74%
B
5
65 – 69%
C+
5
60 – 64%
C
4
50 – 59%
D
3
40 – 49%
E
2
30 – 39%
F
1
0 – 29%
F
THEME PROGRAMME AND AUDITION PROGRAMME RUBRIC
Assessment Criteria
Compelling. Breathtaking. Depth and sub-text. Has complete authenticity. Sustained entertainment and performance focus.
Conveys sub-text fully. Interpretation of character, text and style is insightful. Technical aspects excellent. Must be engaging
throughout. Maturity and commitment to work. Performance could be seen again. Thought-processes are riveting and
completely engaging. Is an example of clear, focused, intelligent and motivated performance. A performance which is
mature in every way – choice, voice, movement or lack thereof, rhythm, emotional connection and characterisation – which
all combines to produce work that is unforgettable and theatrically brilliant.
Has the ‘wow’ factor. Technically very good. Compelling. Sustained focus. Sparkle. Performance energy high. Ability to
convey sub-text. Focused throughout. Clear understanding of performance and stagecraft. Interpretation of character, text
and style always insightful. Demonstrates conflict. Builds dramatic tension and climatic moments effortlessly. Creates a
definitive engaging character. Outstanding thought processes. Exceptional occupation of space. Excellent understanding of
work. Movement and/or stillness spot on – natural and engaging. Strong emotional connection. Exceptional vocal
interpretation. Outstanding and motivated versatility.
A highly competent perfomance which is engaging. Very good but lacks theatrical sparkle. Candidate remains focused. Has
theatrical tension at times but not sustained. Must have mature articulation, a sense of rhythm and pause. Interpretation of
character insightful. Characterisation credible and appropriate. Theatrically good and energy evident. High degree of
confidence and evidence of very good thought planning and rehearsal. Highly developed technical proficiency which is
clever and sustained throughout. Demonstrates emotional maturity with a good understanding of the work. Wide range of
appropriate movement and/or stillness. Good emotional choices. Good intergration of voice and body. Connection with
audience and/or partner is consistently engaging. Consistent creativity, insight, maturity and versatility.
Confident and competent performance. Sincerity and sensitivity. Is engaging. Credible and appropriate characterisation –
vocal and physically convincing and sustained. Engaging interaction with audience and/or other characters on stage.
Limited theatricality. Good understanding of sub-text. Focus, energy and rhythm sustained throughout. Mature but not very
insightful use of space, movement and/or stilness. Emotional connection engaging. Pieces are versatile, creative, insightful
and mature.
Prepared for and committed to the performance. Sincere willingness to create good work. Characterisation is appropriate.
Able to create sub-text adequately. Focus and energy not sustained throughout. Technical planning and choices
demonstrated. Good performance. Vocal interpretation and variation well implemented and sustained. Insightful use of
space. Use of movement/space creates appropriate atmosphere. Emotional connection engaging at times. Technical
choices shows creativity. Adequate performance but not theatrical. Choice of pieces are insightful and creative but not
always mature.
Prepared for performance and demonstrates commitment. Sub-text not adequately conveyed. Characterisation appropriate
but may be contrived. Adequate performance. Variety in tone, pace and inflection. Adequate technical proficiency.
Appropriate use of space. Sustained choices in terms of movement and/or stillness. Emotional connection evident but
mostly forced. Delivery is consistent in terms of rhythm. Good and appropriate use of design and technical elements.
Connection with audience and/or partner adequately sustained. Versatility in programme is clear and demostrates some
evidence of insight and creativity.
Knows all words but understanding of content is superficial. Characterisation limited, lacks sufficient depth and complexity.
Little emotional connection. Audible, with clear ideas of vocal interpretation and variation but not sustained. Candidate
moderately equipped to implement technical skills. No clear focus. Evidence of clear movement and/or stillness planning but
not sustained. Engaging at times. Limited emotional connection. Clear design and technical choices but mostly
unimaginative and intrusive. Clear choices in terms of audience/partner connection but largely inappropriate and inhibiting.
Evidence of insight and creativity. Versatility in programme is evident but not challenging. Lacks dramatic application.
Evident that some preparation has taken place. Learner knows most of the words. Shows some confidence. Use of space
partially justified. Unable to sustain focus throughout the performance. Forgets lines. Character undeveloped. Character has
difficulty with internalization and characterisation not convincing. Structure and sub-text absent. A lack of engagement.
Candidate unable to implement technical skills of performance. Reasonably appropriate movement and/or stillness. Some
vocal interpretation and variation. Rhythm slightly more mature but not sustained. Partial audience/partner connection.
Some attempt at versatility. Performance is bland.
Not adequately prepared for perfomance. Incapable of sustaining focus, energy or characterisation. Characterisation
superficial and/or inappropriate. Incapable of implementing technical performance skills. Shows very limited evidence of
vocal interpretation and variation. No real understanding of work. Limited planning of movement and/or stillness. No
emotional connection. A semblance of rhythmic interpretation but not sustained. Design and technical elements not evident
or cannot be justified. Little or no versatility in programme. Hardly any evidence of connection with audience and/or partner .
Forgets lines. No creativity.
Candidate not prepared for assessment. Lines not learnt. No confidence and shows very little evidence of thought, planning
and rehearsal. No evidence of vocal interpretation and no vocal variation. Demonstartes no understanding of the work and
there is no interpretation and/or characterisation. No appropriate movement or stillness incorporated. No emotional
connection. No awareness of rhythm. No design or technical elements incorporated. No connection to audience and/or
partner. No versatility demonstrated. No creativity or insight.
Technical Theatre Programme. Rubric. Design Elements, Directing, Film Making, Stage Manageme
This rubric will ensure that marking is standardised across the provinces
TECHNICAL THEATRE PROGRAMME : DESIGN ELEMENTS / DIRECTING / STAGE MANAGEMENT/ FILM MAKING
LEVEL
ASSESSMENT CRITERIA – APPLY TO APPLICABLE TECHNICAL THEATRE OPTION
7
90 100%
A+
7
80 – 89%
A
6
75 – 79%
B+
6
70 – 74%
B
5
65 – 69%
C+
5
60 – 64%
C
4
50 – 59%
D
3
40 – 49%
E
2
30 – 39%
F
1
0 – 29%
F
Compelling. Breathtaking. Unforgettable and theatrically brilliant. Excellent understanding of work. Exceptional interpretation of research .
Outstanding, motivated choices. Dynamic interview and demonstrates passion towards the project justifying all choices with maturity – thinking
“out of the box” The candidate provides inspirational material with highly technical visual and/or audio support material. A faultless
understanding of the role of the designer/director in the theatrical process and how to creatively actualise choices through application of
context and background. Mature understanding of design/directing elements. Has creative ideas and can realise them in practise and in a
variety of situations and circumstances. Research impressive and extended to all aspects. Design/directing or stage management vocabularly
displays maturity. Candidate adheres to ALL of the basic criteria – above and beyond basic requirements. Proof of ALL steps in the creation
process provided.
Has the ‘wow’ factor. Technically very good. Excellent understanding of work. Exceptional interpretation of research . Outstanding, motivated
choices. Dynamic interview and demonstrates passion towards the project justifying all choices with maturity. The candidate provides
comprehensive and insightful material with outstanding visual and/or audio support material. A faultless understanding of the role of the
designer/director in the theatrical process and how to creatively actualise choices through application of context and background. Mature
understanding of design/directing elements. Has creative ideas and can realise them in practise and in a variety of situations and
circumstances. Research impressive and extended to all aspects. Design/directing or stage management vocabularly displays maturity.
Candidate adheres to ALL of the basic criteria – above and beyond basic requirements. Proof of ALL steps in the creation process provided.
Dynamic interview and demonstrates commitment to the project and ready, willing and able to justify all choices in own work. The candidate
provides comprehensive and insightful lists e.g. rehearsal processes, prop list, costume list, furniture list, cast list, sound and lighting cues,
prompt book, stage map, script analysis, scene changes and/or opening and closing procedures with interesting visual and/or audio support
material. An insightful understanding of the role of the designer/director in the theatrical process and how to creatively actualise choices
through application of context and background. Mature understanding of design/directing elements. Has creative ideas and can realise them
in practise and in a variety of situations and circumstances. Research impressive and extended to all aspects. Design/directing or stage
management vocabularly displays maturity. Candidate adheres to ALL of the basic criteria – above and beyond basic requirements. Proof of
ALL steps in the creation process provided.
Confident and competent interview and demonstrates commitment to the project and ready, willing and able to justify all choices in own work.
The candidate provides comprehensive lists e.g. rehearsal processes, prop list, costume list, furniture list, cast list, sound and lighting cues,
prompt book, stage map, script analysis, scene changes and/or opening and closing procedures with visual and/or audio support material. An
insightful understanding of the role of the designer/director in the theatrical process and how to actualise choices through application of
context and background. Insightful understanding of design/directing elements. Has creative ideas and can realise them in practise. Research
impressive and extended to most aspects. Design/directing or stage management vocabularly very good. Candidate adheres to ALL of the
basic criteria – above and beyond basic requirements. Proof of ALL steps in the creation process provided.
Prepared for interview and demonstrates commitment to the project and ready, willing and able to justify most choices in own work. The
candidate provides comprehensive lists e.g. rehearsal processes, prop list, costume list, furniture list, cast list, sound and lighting cues, prompt
book, stage map, script analysis, scene changes and/or opening and closing procedures. A good understanding of the role of the
designer/director in the theatrical process and how to actualise choices through application of context and background. Insightful
understanding of design/directing elements. Has ideas and can mostly realise them in practise. Research in place and extended to most
aspects. Design/directing or stage management vocabularly good. Candidate adheres to ALL of the basic criteria – above and beyond basic
requirements. Proof of ALL steps in the creation process provided.
Prepared for interview and demonstrates commitment to the project and ready, willing and able to justify most choices in own work. The
candidate provides comprehensive lists e.g. rehearsal processes, prop list, costume list, furniture list, cast list, sound and lighting cues, prompt
book, stage map, script analysis, scene changes and/or opening and closing procedures. A good understanding of the role of the
designer/director in the theatrical process and how to actualise choices through application of context and background. Insightful
understanding of design/directing elements. Has ideas and can mostly realise them in practise. Research in place and extended to most
aspects. Design/directing or stage management vocabularly good. Candidate adheres to SOME of the basic criteria – above and beyond
basic requirements. Proof of SOME steps in the creation process provided.
The candidate provides complete lists e.g. rehearsal processes, prop list, costume list, furniture list, cast list, sound and lighting cues, prompt
book, stage map, script analysis, scene changes and/or opening and closing procedures. Candidate prepared for the interview and can justify
some choices in own work. A good understanding of the role of the designer/director in the theatrical process and how to actualise choices
through application of context and background. Good understanding of design/directing elements. Has ideas but can only realise them in
practise to some extent. Research in place and extended to only some aspects. Design/directing or stage management vocabularly adequate.
The candidate provides adequate lists e.g. rehearsal processes, prop list, costume list, furniture list, cast list, sound and lighting cues, prompt
book, stage map, script analysis, scene changes and/or opening and closing procedures but these are sloppy and not always relevant and
appropriate. Candidate prepared for the interview but can only moderately justify choices in own work. Limited understanding of the role of the
designer/director in the theatrical process but does not know how to actualise choices through application of context and background. Limited
understanding of design/directing elements. Has ideas but cannot realise them in practise. Research in place but not specific. Design/directing
or stage management vocabularly very limited.
The candidate provides incomplete lists e.g. rehearsal processes, prop list, costume list, furniture list, cast list, sound and lighting cues,
prompt book, stage map, script analysis, scene changes and/or opening and closing procedures. Candidate very superficially prepared for the
interview and cannot justify choices in own work. Very basic understanding of the role of the designer/director in the theatrical process. Ideas
are irrelevant and inappropriate to context. Research fragmented and not appropriate. Design/directing or stage management vocabularly
almost non-existent.
The candidate fails to provide appropriate lists e.g. rehearsal processes, prop list, costume list, furniture list, cast list, sound and lighting cues,
prompt book, stage map, script analysis, scene changes and/or opening and closing procedures. Candidate is in no way prepared for the
interview and cannot justify choices in own work. No understanding of the role of the designer/director in the theatrical process. No
understanding of design/directing elements. No ideas and brings nothing to the table. No evidence of research. Unable to use design/directing
or stage management vocabularly.
Audition, Technical Theatre or Theme Programme. Performance Day Requirements
It is important that the day of the Performance Examination runs without disruptions.
See the CAPS for:
The Performance Day Requirements.
1. The Theme / Audition performance script and the/ Designer / Director / Film Maker / Stage Manager / Theatre Maker
Note Book, in hard copy, should be made available to the External Examiner/Moderator and educators on the panel
on the day of the Final External Performance Examination.
2. Prepare the performance venue.
3. Provide the External Examiner/Moderator and educators with a:
 table and chairs
 checklist with the candidates’
 names and surnames
 colour code for each candidate
 performance mark allocated by the educator
4. If educators have invited an audience, the audience must be welcomed by the relevant educator who must inform the
audience 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.
5. Start on time.
6. When examining or interviewing on the panel, the External Examiner/Moderator and educators 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 CAPS.
PUNT
ASSESSERINGSTAAK 7
ONTWERP VANUIT LESPLAN VIR ONDERWERP 2
OPVOERINGS AFDELING
VOORBEREIDING VIR DIE OPVOERINGS EKSAMEN
MONOLOOG, UITTREKSEL, GEDIG
PUNT
EIND JAAR EKSAMEN
OPVOERINGS AFDELING
150
%
KODE