These questions are designed to help students prepare for their examinations. Firstly, there are questions of a general nature for both Grade 11 and Grade 12 Dramatic Arts and English Home Language learners on the Plot, Characters, Themes and Language of the plays. Secondly, there are specific questions on each play covering the aforementioned areas, structured separately for Grade 11 and Grade 12 learners. These questions are aimed at both Dramatic Arts and English Home Language learners. Finally, there are some technical questions solely for Dramatic Arts learners.
General Questions
a) Structure and Plot
It is essential to acquire a clear understanding of the plot of a play and this should be done in conjunction with appreciating the structure of the play. Storytelling, like life, consists of cause and effects. Generally in stories, effects are more interesting than causes. The usual structure of a play is as follows:
•Exposition/Setting up the Inciting Incident
This involves setting up the context, the main characters and the scene for the plot to unfold. We are exposed to the fact that the main character or characters face a challenge or a series of obstacles which they need to overcome in order to move forward or achieve their goals.
•Rising Action/Building Conflict
This involves a series of conflicts and crises which lead to the climax or sometimes the anti-climax of the play.
•Resolution/Denouement
This is when the conflicts and crises are resolved. The main characters do not have to experience a profound transformation but they should shift position (i.e. they must experience some growth). Remember that there does not have to be a happy ending.
Bearing the above points in mind, consider each of the plays and write a one paragraph summary of the plot of each play.
b) Characterization
Well-presented characters are 90% of a good story. Characters should not be described – the audience must see them in action. They should be three dimensional, meaning that they should be like real people with strengths, weaknesses, quirks, inconsistencies and contradictions.
When analysing any character, one must study:
•What the character says
•What others say about the character
•What the character does
•The non-verbal communication of the character i.e. the character’s body language, attire and use of silence.
Question 2:
Bearing the above in mind, write 300 word biographies for the main characters in each play. For To House you can do this for all six characters; for Duped you can do this for the first six characters (leave out Agent 24-7 DX); for Spice ’n Stuff you can do it for all eight characters; for Reoca Light, only write biographies for Sunil, Manoj, Johnny, and Themba; and for Beyond the Big Bangs do it only for Sandra, Gita and Lindiwe and not the characters that they portray. You can use your imagination to create aspects of the biography which you believe were not fully covered by the plays.
c) Themes
The thematic explorations tell us more about the socio-political context of the work, the intention of the author, the purpose of the play and also about the significance of the work in terms of its literary merit.
Make a list of the five most important themes in each play. You may find that there is a degree of overlapping, for example Spice ’n Stuff and Reoca Light share some themes and To House and Beyond the Big Bangs also share themes. Remember to also read the critical analysis by Dr Betty Govinden and Shantal Singh at the beginning of the book to help you with your answer.
d) Language
The dialogue in plays generally should be realistic, economical and meaningful. The choice of dialogue should always serve any one or a combination of four purposes:
•To take the plot forward
•To build character
•To create atmosphere
•To create humour
Question 4:
Dr Betty Govinden, in her critical overview of the plays, states that the characters often engage “in collusive or combative dialogue with one another”. Collusive means that people are involved in a secret, manipulative alliance which may be illegal and is usually immoral. Combative, in this context, means engaging in aggressive, confrontational dialogue. Consider the plays To House and Duped. Find two examples of combative dialogue in these two plays and then find two examples of collusive dialogue in both plays.
Question 5:
Academic Thayalan Reddy, in his review of Durban Dialogues, Indian Voice, states that there are interesting parallels between Ashwin Singh and Irish playwright John Millington Synge whose most celebrated work is Playboy of the Western World. Reddy states, “Synge captures the essential characteristics of the Irish in an authentic manner – the exaggerated behaviour of Christy Mahon finds parallel with Johnny (Reoca Light) who is also given to flights of imagination regarding his achievements. In addition the Gaelic dialect which Synge captures so admirably finds comparison with Singh’s capturing of Indian expressions…”
Bearing the above in mind, consider the plays Spice ’n Stuff and Reoca Light. Find three examples in each play which can be termed “Indian expressions” and indicate whether these expressions have made the characters more real for you.
Specific Questions on each play
To House
Grade 11
1.Why is Sibusiso so excited by his new leather recliner?
2.Provide a concise description of the relationship Sanjay seems to have with his mother.
3.Whilst ordering food from Bobby over the telephone, Sibusiso responds to a question saying the words, “No, it’s not the last supper”. What is the significance of these words?
4.Jason believes that Sibusiso has a very one dimensional view of white people. Provide a quotation from the play to support this statement.
5.Towards the end of scene 6, Kajol says to Sibusiso, “I like our home”. In scene 10, he says to her, “I wanted some peace here. I didn’t want your cousins to come every other day”. Do you believe that a home means the same thing to Kajol and Sibusiso? Substantiate your answer.
To House
Grade 12
1.What is the significance of the fact that we never see Sanjay in his own house during the play?
2.At some point or other, all the male characters in the play make racist remarks. Quote examples of this. Also, do you believe that Kajol is racist? Explain your answer.
3.Discuss the symbolic significance of the food and the furniture in the play.
4.What are Deena’s real intentions when he visits Jason’s house?
5.At the end of the play, Sibusiso towers over Jason and says the last few lines. From both a theatrical and literary view, to whom would you say this last moment belongs? To Sibusiso? To Jason? To both, in different ways? Fully substantiate your answer.
Duped
Grade 11
1.Why does Captain Snyman refer to Bobby as a stereotype?
2.What is the dramatic purpose of the playwright using the device of the Captain’s personal log at the beginning of Act 2 and Act 3?
3.Describe the complex relationship between Captain Snyman and Lieutenant Khumalo, clearly illustrating what they think and feel about each other.
4.What does Masimola’s public address outside the Durban Magistrate’s Court towards the end of Act 2 reveal about his character?
5.Briefly describe all the twists that occur in the play.
Duped
Grade 12
1.Evaluate the theme of appearances versus reality in the play, clearly illustrating your answer with examples from the play.
2.Is Luke Jedison a tragic hero, an anti-hero, a villain or none of these? Evaluate these concepts, by firstly defining them and then applying them specifically to Jedison to see if they fit.
3.What is the symbolic significance of the following words spoken by Dr Johnson to Lieutenant Khumalo in Act 3: “It’s time to forgive me”.
4.Why do you believe that the playwright has suggested that the actor who plays Bobby should also play Agent 24-7 DX? Do you agree with the playwright? Explain your choice.
5.Does Lieutenant Khumalo make an immoral choice when he decides to cover-up how Masimola was injured and to use the reconciliatory chip on him? Explain your answer.
Grade 11
1.During his exchange with Rani in Act 2, Vijay makes certain ironic statements and uses a sarcastic tone. Explain the reasons he does this.
2.Is Shahid genuinely a victim of xenophobia or is it imagined? Illustrate your answer.
3.Would you describe Rita as having too much pride? Illustrate your answer with specific reference to her initial response to Rani’s business proposal.
4.What are the reasons for Thulani’s decision to help Shahid get rid of his pirated DVDs? Do you support his decision? Explain your answer.
5.What is the significance of these words spoken by Rita in the context of the play as a whole: “Yes… and I suppose it doesn’t all have to be here, in this place. At this time”.
Spice ’n Stuff
Grade 12
1.Trace the development of the relationship between Rita and Shahid in the play, using clear examples to illustrate your answer.
2.Fully explore Rani’s motivation for wanting Rita to close her store, including whether you believe this has anything to do with Rani’s own prejudices.
3.Vijay says these words to his mother after confronting Ajith: “You’re the spice thief. You are weak!” Explain whether you believe this statement is justified in the context of Rita’s past actions.
4.One of the main themes of the play is redemption. Explain how Rita, Ajith and Shahid find redemption through their actions.
5.Evaluate the shifting tone with which Sagren speaks to Tiny’s Mother in Act Three.
Reoca Light
Grade 11
1.What were the reasons for Manesh stealing the Mohan’s ornamental crystal prism?
2.Why do you think Johnny is unable to approach Mina to reveal his true feelings?
3.Provide examples from the play to illustrate Nishaal’s hypocrisy.
4.Why does Johnny refer to Manoj as “the heart and soul of Reoca”?
5.Who are the “selfish, savage people” referred to by Areendum at the end of the play and why does he describe them as such?
Reoca Light
Grade 12
1.Evaluate the meaning of these words spoken by Johnny in the context of the play as a whole: “This is the light of Reoca. They come here to eat air”.
2.Why does Themba intervene in the confrontation between the Mohans and the Singhs and say that he stole the ornamental crystal prism?
3.Evaluate the meaning of these words, written by Manoj in his letter to Sunil: “I think we both wanted to throw away our aprons for a while”.
4.What is the significance of Sunil deciding to move the “hot hut” to his backyard?
5.What does Zaakir Ally mean when he tells Sunil that the hut “is the most complete place you’ll ever experience”?
Beyond the Big Bangs
Grade 11
1.What are the exact reasons for Charmelle’s decision to employ Sandra as a domestic worker?
2.Do you believe that Anesh Singh is a hypocrite? Carefully illustrate your answer with examples from the play.
3.What is the significance of these words spoken by Gita to the journalist, Ms Maharaj: “I’m not your Indian granny”.
4.Why is Shaun upset about the picture comparing President Zuma and President Obama which he finds on the internet?
5.What is the significance of Lindiwe feeling the presence of her Gogo in the waiting room?
Grade 12
1.Comment on the contradictions in Charmelle’s character, illustrating your answer with references to incidents in the play.
2.Fully explore the reasons why Sandra chooses to remain in the Peterson’s employment.
3.Compare and contrast Gita’s views with Sandra’s views of the white people living in Durban North.
4.Critically analyse the reasons for Lindiwe’s decision to represent herself at the disciplinary hearing.
5.Why do you think that the playwright has titled the last scene of the play “Home”?
Technical Questions for Dramatic Arts Learners Only
(These are not necessarily potential exam questions but will aid learners’ understanding of the technical aspects of the plays and of theatre in general.)
1.There are two possible set designs recommended by the author for To House. Compare and contrast the value of the two designs and clearly indicate which design you would choose as the director of the play and why.
2.Choose the pictures and/or images you would use for the screen projections in Duped and explain the reasons for your selections. Also, indicate how you would use an innovative lighting design to highlight the differences between the bridge of the Airship and the portion of the stage reserved for ground action.
3.You are the stage manager for Spice ’n Stuff. Make a list of all the props required. Then write down all the entrances and exits for each character and indicate all the costume changes required and how much time each actor will have to change.
4.Reoca Light requires the actor to play a variety of complex roles. If you were the actor, describe what vocal, physical and non-verbal preparation you would undertake to ready yourself to portray the many characters in the play.
5.Suggest an alternative set design for Beyond the Big Bangs to the one recommended by the playwright. Remember that the play’s action occurs in four different settings in the suburb of Durban North. Also describe the exact costumes you would choose for Sandra, Gita and Lindiwe and explain the reasons for your choices.