GR 8 Kwartaal 2 Skeppende Kunste Drama GR

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GR 8 Kwartaal 2 Skeppende Kunste Drama GR 8 Term 2 Creative Arts Drama

GR 8 Kwartaal 2 Skeppende Kunste Drama GR 8 Term 2 Creative Arts Drama Vir alle leerders For all students

ONTSPANNING EN OPWARMING: FISIESE EN STEMOPWARMING RELAXATION AND WARM UP: PHYSICAL AND VOCAL DEVELOPMENT:

ONTSPANNING EN OPWARMING: FISIESE EN STEMOPWARMING RELAXATION AND WARM UP: PHYSICAL AND VOCAL DEVELOPMENT: Doen/Do - AKT/ACT: 4, 5, 6, 7, 8, 9, 10 BL/PG 98 -101

‘n Begrip van poësie Understanding poetry Teksanalise is baie belangrik wanneer dit by poësie

‘n Begrip van poësie Understanding poetry Teksanalise is baie belangrik wanneer dit by poësie kom. Text analysis is very important when it comes to poetry. *Teksanalise: Die ontleding van die woorde van ‘n geskrewe stuk om die betekenis daarvan te verstaan en sin daarvan te maak. *Text analysis: Examining the written words of a piece of writing to understand make sense of what the words are saying. Die identifisering van pouses: Identify the pauses: • In Latyn beteken PAUSA, die ophou, stilstand of die einde. Pousering beteken dus om te wag. In die wag periode kan jy: • The definition for PAUSE in Latin means the end or to come to a stop. Thus it means to wait. In the waiting process, you can 1. ASEMHAAL 1. TAKE A BREATH 2. DIE EINDE VAN GEDAGTES AAN DUI. 2. SHOW THE END OF A THOUGHT PROCESS 3. MET AFWAGTING EFFEK BEREIK. 3. HELP TO CREATE AN EFFECT DIE AANWENDING VAN POUSES BY SPRAAK: THE APPLICATION OF PAUSE WHEN COMMUNICATING A PIECE: 1. RUSPOUSE: / (by komma). // (by einde van ‘n sin) /// (aan die einde van ‘n paragraaf). 1. PAUSING TO REST: / (at a comma) // (at the end of a sentence) /// (at the end of a paragraph. 2. DRALENDE POUSE: ῼ word aangewend by enjambement (In gedigte, wanneer een versreël na ‘n volgende loop, sonder om te stop/sonder leestekens). 2. DILATORY PAUSE ῼ Apply at enjambment ( the continuing of a sentence, without punctuation or pause). Hy sien die agies, / Dan wip ῼ hy skielik mal ῼ Van paal na klip, / Van klip na krip. /// Season of mists ῼ and mellow fruitfulness, / Close bosom-friend of the maturing ῼ sun. ///

VOORBEELD VAN POUSERING IN GEDIGTE EXAMPLE OF PAUSE IN POETRY Bitterbessie dagbreek, / bitterbessie

VOORBEELD VAN POUSERING IN GEDIGTE EXAMPLE OF PAUSE IN POETRY Bitterbessie dagbreek, / bitterbessie son, / ʼn spieël het gebreek ῼ tussen my en hom. /// Bitter-berry daybreak, / bitter-berry sun, / a mirror has broken ῼ between me and him. /// Soek ek na die grootpad ῼ om daarlangs te draf, / oral draai die paadjies ῼ van sy woorde af. /// I try to find the highway ῼ perhaps to run away, / but everywhere the footpaths ῼ of his words lead me astray. ///

VERSKIL TUSSEN PROSA EN POËSIE DIFFERENCE BETWEEN PROSE AND POETRY PROSA VS POËSIE PROSA

VERSKIL TUSSEN PROSA EN POËSIE DIFFERENCE BETWEEN PROSE AND POETRY PROSA VS POËSIE PROSA POËSIE 1. VOLSINNE EN 1. KORTER REËLS, GEEN PARAGRAWE SINNE NIE 2. GEEN FORMELE 2. RITME IN ELKE STRUKTUUR NIE VERSREËL INGEBOU. 3. FOKUS OP WOORDE WORD GEORGANISEERDE EN GEKIES VIR HULLE GEDETAILEERDE BETEKENIS EN KLANK. DENKE 3. FIGUURLIK 4. DIE DIGTER SKEP BESKRYWENDE PSIGIESE PRENTJIES DEUR WOORDE. PROSE VS POETRY PROSE POETRY 1. NO FORMAL 1. MORE CONCISE IN STRUCTURE LAYOUT. SHORTER 2. FULL SENTENCES AND LINES, NO SENTENCES. PARAGRAPHS 2. RHYTHM BUILD INTO 3. FOCUSES ON EACH LINE. WORDS ORGANISED AND CHOSEN ON HOW DETAILED THINKING. THEY SOUND. 3. POETRY IS FIGURATIVE 4. THE POET CREATES DESCRIPTIVE MENTAL IMAGES BY USING WORDS.

VAARDIGHEDE VAN POËSIE SKILLS OF POETRY 1. 2. 3. 4. 5. Tempo en toonhoogte:

VAARDIGHEDE VAN POËSIE SKILLS OF POETRY 1. 2. 3. 4. 5. Tempo en toonhoogte: vang die emosie van die gedig vas. Beweging: moenie gedig met handelinge vertolk nie. Gebruik beperkte beweging of postuur. Kontak met gehoor: gedigte word in emosie vir die gehoor geskryf. Maak direkte oogkontak, praat direk met gehoor. Helderheid: projekteer sodat mense agter in gehoor jou ook kan hoor. Visualisering: jy moet alles wat jy sê eers in jou geestesoog sien. Gebruik al 6 sintuie. 1. 2. 3. 4. 5. Pace and pitch: captures the mood of the poem. Movement: do not act a poem out, but use limited movement/body posture. Audience contact: poems are written to be heard by an audience. You want to connect to your audience through emotion by making eye contact and talking directly to them. Clarity: projection, make sure those in the back can hear you clearly. Visualisation: everything you say, you must first feel. Make use of your 6 senses.

Vaardighede om die stemming van ‘n gedig te vind Skills to find the mood

Vaardighede om die stemming van ‘n gedig te vind Skills to find the mood and tone of the poem 1. Tempo en toonhoogte: Die tempo en toonhoogte vang die stemming van die gedig vas. ‘n Hartseer stemming sal stadiger en op ‘n laer toonhoogte voorgedra word, terwyl die feestelike stemming vinniger en op ‘n hoër toonhoogte voorgedra sal word. 1. Pace and pitch: The pace and pitch of the poem captures the mood of the poem. The sadder the mood, the slower the pace and the deeper the pitch, the more celebratory the mood, the faster the pace and higher the pitch. 2. Beweging: Moenie jou gedig met handelinge vertolk nie, maar gebruik beperkte beweging of postuur om jou gedig se stemming te weerspieël. 2. Movement: Do not act a poem out, but use limited movement/body posture to match and support the poem. 3. Kontak met die gehoor: Gedigte word vir ‘n gehoor geskryf. Jy wil met jou gehoor kontak maak deur die emosies van die gedig in jou voordrag vas te vang en hulle so met die gehoor te deel. Jy moet direkte oogkontak met jou gehoor maak en direk met hulle praat. 3. Audience contact: Poems are written to be heard by an audience. You want to connect to your audience through emotion by making eye contact and talking directly to them. You must make eye contact directly with your audience to speak to them directly. 4. Helderheid: Wanneer jy optree, moet jy met die mense agter in die gehoor praat, nie met die wat voor sit nie. Jy moet altyd goeie PROJEKSIE en DIKSIE hê. 4. Clarity: When performing, you are speaking to those at the back of you audience, not the front. You always need good PROJECTION and DICTION. 5. Visualisering: Jy moet alles wat jy sê, eers in jou geestesoog sien. Gebruik al jou sintuie om die kleure, geure, teksture, gevoelens en eienskappe wat jy beskryf voor jou op te roep. Stel elke beeld in detail voor en laat jou stem uitdruk wat jy visualiseer. 5. Visualisation: Everything you say must first appear in your mind’s eye. Use all your senses to recreate the colours, smells, textures, feelings and qualities you are describing, Imagine each image in detail and allow your voice to express what you are visualising.

LOFDIG PRAISE POETRY 1. Lofdigte uit Afrika is deel van ‘n ryk mondelinge tradisie.

LOFDIG PRAISE POETRY 1. Lofdigte uit Afrika is deel van ‘n ryk mondelinge tradisie. 1. Part of a rich oral tradition. 2. Lofdigte is nie neergeskryf nie, maar van een geslag na die volgende oorgedra deur ervare storievertellers. 2. Poems are not written down, but passed on from generation to generation by experienced storytellers. 3. Eer of bring hulde aan ‘n persoon, plek of gebeurtenis. Word direk aan die persoon of gehoor gesing of gedreunsing saam met tromslae. 3. A praise poem is a spoken poem that gives praise, thanks or homage to a person, place or event. 4. The praise poem could be chanted to a drum of performed as a song. The structure is decided by the poet. 5. Rhythm and sound are essential, but rhyme is not. 6. This reflects the history of a people or an individual. 7. Praise poetry = a praise name. A description of some person the poem is about. 8. The images are dramatic and bold, often drawn from the local environment and the wider universe. 9. A poem is spoken by a single performer (In Zulu culture, this person is known as the IMBONGI) 10. A praise poem may be quite repetitive in its format and style. The praise keeps on repeating in different ways. Praise images occur repeatedly, creating a climax. 11. Praise poems reflects the history of a people or individual. 4. Die lofdig kan gedreunsing word m. b. v. tromme, of as ‘n lied gesing word. Struktuur word deur digter self bepaal. 5. Ritme en klank is noodsaaklik, maar nie rym nie. 6. Lofdigte weerspieël die geskiedenis van ‘n volk of individu. 7. Lofdig = ‘n “Prysnaam”. ‘n Beskrywing van die persoon waaroor die lofdig handel. 8. Die beelde is dramaties en sterk en kom dikwels uit die plaaslike omgewing of die wyer heelal. 9. Die lofdig word voorgedra deur ‘n enkele kunstenaar. (In Zulu staan hierdie persoon as die IMBONGI bekend. 10. ‘n Lofdig kan baie herhalend wees wat formaat en styl betref. Prysbeelde en prysname kom herhaaldelik voor, die herhaling van hierdie beelde bou op tot die klimaks. 11. Lofdigte weerspieël die geskiedenis van ‘n volk of individu.

Begrip van ‘n lofdig Understand a praise poem 1. ‘n Lofdig bevat altyd elemente

Begrip van ‘n lofdig Understand a praise poem 1. ‘n Lofdig bevat altyd elemente van ‘n persoon se geskiedenis en sy merkwaardige eienskappe of prestasies. 1. A praise poem will always contain elements of a person’s history and his or her outstanding characteristics or achievements. 2. Dit kan ook momenteel krities teenoor die persoon wees. 2. It may also be critical of the person in moments. 3. Lof digters het bekend gestaan as die “ geheue en gewete “ van hulle gemeenskappe. 3. Praise poets have been called the “ memory and conscience” of their community. 4. Soms sal die digter ‘n reël van die lofdig uitroep, en die gehoor sal eenstemmig antwoord. 4. At times, the poet may call out a line of the poem, and have the audience respond in unison with a reply line. 5. In hierdie roep-en-antwoord formaat kan die gehoor dieselfde antwoord reël deur die lofdig herhaal, terwyl die digter se reëls kan verskil. 5. This call-and-response format could have the audience repeating the same response line throughout the poem, while the poet’s line may vary.

Refleksie vrae: 1. Wat beteken die woord “RESONANSIE”? _____________________________________________________ 2. Verduidelik drie verskille tussen

Refleksie vrae: 1. Wat beteken die woord “RESONANSIE”? _____________________________________________________ 2. Verduidelik drie verskille tussen poësie en prosa: POËSIE: PROSA: 3. Gee drie redes vir die gebruik van pouses in poësie: ________________________________________________________ 4. Noem drie maniere waarop stem helderheid verkry kan word wanneer ‘n gedig voorgedra word: _________________________________________________________ _____________________________ 5. Dui ruspouses en dralende pouses op die volgende gedig aan:

Reflection questions: 1. What does the word resonance mean: _____________________________________________________ 2. Explain three main

Reflection questions: 1. What does the word resonance mean: _____________________________________________________ 2. Explain three main differences between poetry and prose: POETRY: PROSE: 3. Give three reasons for using pauses in poetry: ________________________________________________________ 4. Give three ways to create vocal variety when speaking a poem: __________________________________________________________________ _________________________________ 5. Apply the following pauses to the given poem, resting pauses and dilatory pauses:

Formele Assesserings Taak Bladsy 108 Kies ‘n Suid-Afrikaanse gedig om voor te dra vir

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. Beplannings vrae: 1. Wat is die naam van die gedig wat jy gaan voordra: _______________________________ 2. Wie is die digter? _______________________________ Rubriek: Naam en Van: _______________________ Gr: _____ 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. Fokus: /10 5. Dui ruspouses en dralende pouses op jou gedig aan en wys vir jou onderwyser, voordat jy die gedig voorlees. Jy kan joune uitdruk of oorskryf. TOTAAL: /50 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? )

Formal Assessment Task Page 108 Choose a South African poem to perform for you

Formal Assessment Task Page 108 Choose 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. Preparation questions: 1. What is the name of the poem you are going to recite: ___________________________ 2. Who is the poet? ___________________________ Rubric: Name and Surname: _____________________Gr: _____ 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. Focus /10 5. Apply resting pauses, as well as dilatory pauses on your poem. Show it to your teacher, before you recite it. You can print or write your copy. TOTAL: /50 3. Why did you decide on this poem? _____________________________________________________ 4. In your own words, what does this poem mean? (What is the poem about? )

Drama teorie eksamen vir kwartaal 2 Leer boekies van beide kwartale. Alle werk in

Drama teorie eksamen vir kwartaal 2 Leer boekies van beide kwartale. Alle werk in handboek vir beide kwartale. Drama theory exam for term 2 – Study booklets of both terms. All work in textbook for both terms.

Kwartaal 2 punte Skeppende Kunste is 200: Drama – Prakties 50 & Teorie 50

Kwartaal 2 punte Skeppende Kunste is 200: Drama – Prakties 50 & Teorie 50 Visuele Kuns of Musiek – Prakties 50 & Teorie 50 Term 2 Creative Arts mark is 200: Drama – Practical 50 & Theory 50 Visual Arts or Music – Practical 50 & Theory 50

Kies een van die gedigte of doen jou eie een. (50)

Kies een van die gedigte of doen jou eie een. (50)

Choose one of these poems or do your own one. (50)

Choose one of these poems or do your own one. (50)

Moenie huiwer om my te kontak vir enige vrae nie: bmyburgh@gc. co. za .

Moenie huiwer om my te kontak vir enige vrae nie: bmyburgh@gc. co. za . Do not hesitate to contact me with any queries bmyburgh@gc. co. za