SKEPPENDE KUNSTE DRAMA / CREATIVE ARTS DRAMA GR 8 …

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SKEPPENDE KUNSTE DRAMA CREATIVE ARTS DRAMA GR 8 KWARTAAL 3 TERM 3 1. VOKALE ONTWIKKELING / VOCAL DEVELOPMENT 2. TEGNIESE HULPBRONNE / TECHNICAL RECOURSES 3. DRAMA GENRES (STYLE) / DRAMA GENRES (TYPES) 4. POPPETEATER / PUPPET THEATRE

Transcript of SKEPPENDE KUNSTE DRAMA / CREATIVE ARTS DRAMA GR 8 …

Page 1: SKEPPENDE KUNSTE DRAMA / CREATIVE ARTS DRAMA GR 8 …

SKEPPENDE KUNSTE DRAMA CREATIVE ARTS DRAMA

GR 8KWARTAAL 3 TERM 3

1. VOKALE ONTWIKKELING / VOCAL DEVELOPMENT

2. TEGNIESE HULPBRONNE / TECHNICAL RECOURSES

3. DRAMA GENRES (STYLE) / DRAMA GENRES (TYPES)

4. POPPETEATER / PUPPET THEATRE

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Die artikulasie van konsonanteThe articulation of consonants

• Die TONG, LIPPE en die KAKEBEEN staan bekend as die artikulators en al drie kan beweeg. Hierdie beweging word artikulasie genoem, wat beteken dat al die woorde behoorlike gevorm en uitgespreek word.

• Die artikulators se spiere moet opgewarm wees om effektief in spraak gebruik te word.

• Hoe kan ons opwarm?

Oefen om die volgende konsonantgroepe oordrewe uit te spreek: “str”, “spl”, “skr”, “tr”, “krs”

Oefen nou om die volgende woorde oordrewe uit te spreek: stratifikasie, splitbaarheid, skroefgewys, trippetrappe-trone, kriewelkrappers.

Maak perd lippe.

Rollercoaster met jou tong op die klank “Rrrrrrrr”

• The TONGUE, LIPS and the JAW are known as the articulators, each of which is able to move. This movement is called articulation and it means that all words are properly formed and spoken.

• The muscles of the articulators need to be warmed up to be used efficiently in speech.

• How can we warm up?

Practice the consonant clusters by overly pronouncing them: “str”, “spl:, scr”, “tr”, “sts”

Practice to overly pronounce the following words: “hamstring”, “splash”, scratch”, trips”, “mists”

Do horse-lips.

Rollercoaster with your tongue, using the letter “Rrrrrrr”

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TEGNIESE HULPBRONNE TYDENS ‘N PRODUKSIETECHNICAL RESOURCES DURING A THEATRE PRODUCTION

1. REKWISIETE

• Word gewoonlik deur die akteurs “props” genoem.

• Dit is voorwerpe wat akteurs nodig het op die verhoog.

• Die “eiendom” van elke karakter.• Bv. pyp, kierie, rugbybal, pen.• Handrekwisiete: kierie, pyp• Kostuumrekwisiete: hoed, ring• Dekorrekwisiete: kussing, lamp

1. PROPS

• Items used by actors on stage.

• Property of every character.

• Example: pipe, rugbyball, pen

• Handprops: cane, pipe

• Costume props: hat, ring

• Décor props: cussion, lampstand

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TEGNIESE HULPBRONNE TYDENS ‘N PRODUKSIETECHNICAL RESOURCES DURING A THEATRE PRODUCTION

DEKOR

• Die groter objekte op die verhoog wat die ligging van die toneel voorstel.

• Bv. sitkamer = bank, koffietafel, televisie, mat.

DÉCOR

• The bigger objects on stage, giving the audience an idea where the drama is playing off.

• Example. Lounge = couch, coffee table, television, carpet.

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TEGNIESE HULPBRONNE TYDENS ‘N PRODUKSIETECHNICAL RESOURCES DURING A THEATRE PRODUCTION

KOSTUMERING

• Die klere wat die akteurs dra om hulle karakters uit te beeld.

• Kostumering is belangrik, omrede dit baie van die karakter sê.

• Bv. ‘n Sakeman dra ‘n pak, met ‘n aktetas en netjiese hare.

COSTUMES

• The clothes worn by the actors to portray the character they are playing.

• Costumes are important, because it gives us a better picture of the character.

• Example, a rich business man, wearing a suit, briefcase in hand, neat hair.

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TEGNIESE HULPBRONNE TYDENS ‘N PRODUKSIETECHNICAL RESOURCES DURING A THEATRE PRODUCTION

BASIESE BELIGTING

• Alle toneelstukke het beligting nodig, anders kan die akteurs nie gesien word nie.

• Kantligte: Lig skyn van die kant af.

• Agterligte: Lig skyn van agter af.

• Vloerligte: Lig skyn op na akteur.

• Plafonligte: Ligte skyn direk van bo af op akteur, beklemtoon dan die kop en hare en skouers.

• Kollig: Enkele lig wat op een akteur helder skyn.

BASIC LIGHTING

• All theatre productions need lighting, otherwise the actors cannot be seen.

• Side lights: Light shines from the side.

• Backlights: Lights shines from the back of the stage.

• Floorlights: Light shines up from the floor to the actor.

• Ceiling lights: Lights shines directly from the top, accentuating the head, hair and shoulders.

• Spotlights: Single light that clearly focusses on one actor.

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TEGNIESE HULPBRONNE TYDENS ‘N PRODUKSIETECHNICAL RESOURCES DURING A THEATRE PRODUCTION

KLANK

• Dit word gebruik om die tema van die toneel te versterk.

• Bv. emosie te ontlok deur stadige musiek te speel.

• KLANKEFFEKTE: Byklanke om die toneel meer realisties te laat oorkom, bv. voordeurklokkie wat lui.

SOUND

• We make use of sound, to enhance the feel of the play.

• Example, create emotion by playing sad music.

• SOUNDEFFECTS: We use sound effects to make the production seem more realistic, example phone ringing.

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DRAMA GENRES

KOMEDIE:

• ‘n Teaterstyl wat die gehoor laat lag.

TRAGEDIE:

• ‘n Teaterstyl waar die dood voorkom.

By die antieke Grieke ontstaan.

MUSIEKBLYSPEL:

• ‘n Teaterstyl wat musiek, sang en dans insluit.

DRAMA:

• ‘n Teaterstyl wat die “hartsnare” trek.

COMEDY:

• A theatre style that makes the audience laugh.

TRAGEDY:

• A theatre style where death is involved.

Created by the Greeks.

MUSICAL:

• A theatre style which includes music, song and dance.

DRAMA:

• A style that pulls on ones “heartstrings”.

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POPPETEATER / PUPPET THEATRE

SOORTE POPPETEATER

• STOKPOPPE

Word uit karton gemaak en met stokke monteer.

• MARIONETTE

Ledemate is los van mekaar en word met toutjies gemanipuleer.

• LEWENSGROOTTE HANDPOP

(“Jeff Dunham”) Word gemanipuleer deur een of meer mense.

• HANDPOP

Pop pas oor die hand soos ‘n handskoen.

• VINGERPOP

Trek die materiaalpop oor die vinger.

TYPES OF PUPPET THEATRE

• STICK PUPPETS

Made from carton box and are manipulated by sticks.

• MARIONETTE PUPPETS

Puppet worked by strings.

• HUMANSIZED PUPPETS

(“Jeff Dunham”) Being manipulated by one or more people.

• HANDPUPPETS

Fits over hand like cloves.

• FINGERPUPPETS

Pull material over finger.

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POPPETEATER / PUPPET THEATRE

SOORTE TEATERS

• SKADU TEATER

Halfdeursigtige lap met lig wat van agter af skyn.

• SWART TEATER

Agtergrond is swart, manipuleerder in swart gekleed en helder beligting van voor.

• MARIONET TEATER

Manipuleerder staan op “brug” en manipuleer pop vanaf bo.

• HANDPOP TEATER

Kas met ‘n opening. Manipuleerder sit agter en manipuleer pop deur arm deur gat te druk en bo arm op plank te rus.

TYPES OF THEATRE

• SHADOW THEATRE

Light material with backlighting.

• BLACK THEATRE

Background is black, manipulator clothed in black, colourful lighting from the front.

• MARIONETTE THEATRE

Manipulator stands on a “bridge” and manipulates puppet from above.

• HANDPUPPET THEATRE

Structure with an opening. Manipulator at the back, manipulating puppet by putting arm through the hole and resting upper arm on a plank.

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Refleksie vrae1. Noem twee oefeninge vir die behoorlike artikulasie van spraakklanke:

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2. Beskryf die term “Genre”:

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3. Noem 5 tegniese hulpbronne wat tydens ‘n produksie gebruik word: Gee ‘n voorbeeld van elk:

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4. Beskryf die term “SWARTTEATER”:

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5. Wat is die verskil tussen ‘n “TRAGEDIE” en ‘n “DRAMA”?

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Reflection questions 1. Give two exercises for proper articulation of speech sounds:

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2. Describe the term “Genre”:

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3. Name 5 technical resources used during a theatre production: Give an example of each:

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4. Describe the term “BLACK THEATRE”:

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5. What is the difference between a “TRAGEDY” and a “DRAMA”?

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Jy het in kwartaal 2 reeds jou gedig gedoen en gestuur. Kyk weer daarna en

voltooi die refleksie vrae.

You completed your poem in term 2.Look at it and complete the reflection

questions.

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Formele Assesserings Taak Bladsy 108 Kies ‘n Suid-Afrikaanse gedig om voor te dra vir jou praktiese eksamen. Jy moet die woorde ken. Jy kan jou eie een kies of een van die wat aangeheg is doen. Die gedig mag nie te kort wees nie. Dit

moet ten minste 12 kort versreëls lank wees.

Refleksie vrae: Rubriek:1. Wat is die naam van die gedig wat jy gaan voordra:

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2. Wie is die digter? ______________________________________________________________

3. Waarom het jy op hierdie gedig besluit? __________________________________________________________________________________________________________________________________________________________________________________________

4. In jou eie woorde, wat beteken die gedig wat jy gaan voordra? (Waaroor gaan die gedig?)

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5. Dui ruspouses en dralende pouses op jou gedig aan en heg dit vas aan jou boekie wanneer jy die video aan jou juffrou stuur. Jy kan joune uitdruk of oorskryf.

Assesserings kriteria: Punte toegeken:

1. Voorbereiding (Aanduiding van pouses. Vlotheid in spraak):

/10

2. Helderheid (Artikulasie en projeksie):

/10

3. Verskeidenheid in tempo en toonhoogte:

/10

4. Oogkontak met die gehoor: /10

5. Refleksie(Nuut): /10

TOTAAL: /50

Naam en Van: _____________________________________________ Gr:_____

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Formal Assessment Task Page 108Choose a South African poem to perform for you practical exam. You must know the words. You can

choose your own poem or do one of these given. Your poem must be at least 12 short lines.

Reflection questions: Rubric:1. What is the name of the poem you are going to recite:

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2. Who is the poet? _____________________________________________________

3. Why did you decide on this poem? ____________________________________________________________________________________________________________________________________________________________________________________________________________________

4. In your own words, what does this poem mean? (What is the poem about?)

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5. Apply resting pauses, as well as dilatory pauses on your poem. Attach it to your booklet, before you make your video and send it to your teacher. You can print or write your copy.

Assessment criteria: Marks rewarded:

1. Preparation (Application of pause. Fluency in speech):

/10

2. Clarity (Articulation and projection):

/10

3. Variety in pace and tone: /10

4. Audience eye contact: /10

5. Reflection(new): /10

TOTAL: /50

Name and Surname:_________________________________________Gr:_____