Academic literature on the topic 'Afrikaans drama'

Opsomming In die tydperk 1964–1969 vertaal die aktrise en regisseuse Anna Neethling-Pohl (1906–1992) William Shakespeare (1564–1616) se treurspele Julius Caesar en Antony and Cleopatra in Afrikaans. Neethling-Pohl is die tweede produktiefste Afrikaanse Shakespeare-vertaler, hoewel dié feit nog nie opgeteken is of noemenswaardige akademiese aandag gekry het nie. Haar erflating as aktrise, regisseuse, vervaardiger, omroeper en taalstryder is deeglik geboekstaaf, maar haar bydrae tot die kanon van Afrikaanse dramavertalings, veral met betrekking tot Shakespeare-vertalings, is tot nog toe skraps bespreek. Hierdie artikel se oogmerk is tweërlei: In die eerste plek word Neethling-Pohl gehuldig vir haar uitbreiding van die register van Afrikaanse drama- vertalings (veral van Shakespeare se werk). Deur haar op hierdie manier te vereer, word die aandag gevestig op die onderbesproke onderwerp van middel- tot laat-twintigste-eeuse Afrikaanse vrouevertalers van dramas. Neethling-Pohl word as ’n voorloper op hierdie gebied gekanoniseer. Tweedens word haar Afrikaanse vertalings van Julius Caesar en Antony and Cleopatra bespreek as gendergevoelig van aard. Hierdie ondersoek werp lig op die vertaalstrategieë wat Neethling-Pohl aanwend om die geslagsgebaseerde magsverhoudinge in hierdie twee dramas toe te lig. Daar word veral gekonsentreer op die wyses waarop idiome, verkleinwoorde, skelname, idiolek en geslagsvoornaamwoorde uit die bronteks in die doeltaal omvorm word ten einde die bronteks se genderbegronde temas in die doelteks te verhelder. Daar word in twee opsigte van ’n feministiese benadering tot vertaalstudies gebruik gemaak: Neethling-Pohl word in die besonder as ’n baanbrekende Afrikaanse vrouevertaler bespreek, met inagneming van haar geboekstaafde menings oor geslagsrolverdeling binne die Afrikanernasionalistiese milieu waarin sy haarself bevind het. Daarby word die insigte wat haar vertalings van hierdie dramas deur ’n internasionaal gevierde dramaturg soos Shakespeare oplewer, in verband gebring met die voorstelling van (Suid-)Afrikaanse vroue in ’n (middel-twintigste-eeuse) tydsgewrig, toe die feminisme nog nie soveel aandag getrek het as wat tans die geval is nie. Trefwoorde: Afrikaanse Shakespeare-vertalings; Afrikaanse vrouevertalers van dramas; Anna Neethling-Pohl; feministiese vertaalstudie; (Suid-)Afrikaanse teatervertaling; William Shakespeare

The use of narrative codes in TV drama: A test sampleEven though TV drama makes use of genre-specific codes it always tells a story. In order to examine the Afrikaans teleplay, The Horse Trader (1982), narrative codes - as explicated by Genette (1980) and applicable to the linguistic narrative - are utilized. These narrative codes prove to be very useful in decoding the teleplay and syslematising hierarchical elements.

In this article, I examine the Garment Workers’ Union’s theatre as a manifestation of transnational working-class culture in the 1940s. Analysing Pageant of Unity (1940), a play in which Afrikaans and English alternate to express the equality of Afrikaans- and English-speaking workers in the face of exploitation, I offer an attempt to escape the confines of a national literature as linked to a single language. I demonstrate how the political pageant—a genre typical of socialist propaganda and international trade unionism—was adapted to a South African context. This drama is, therefore, viewed as a product of cultural mobility between Europe, the United States, and South Africa. Assuming the ‘follow the actor’ approach of Bruno Latour’s Actor-Network Theory, I identify a network of interconnections between the nodes formed by human (drama practitioners and theoreticians, socialist organisers) and nonhuman actors (texts representing socialist drama conventions, in particular agitprop techniques). Tracing the inspirations and adaptations of conventions, I argue that Pageant of Unity most evidently realises the prescriptions outlined by the Russian drama theoretician Vsevolod Meyerhold whose approach influenced Guy Routh, one of the pageant’s creators. Thus, I focus on how this propaganda production utilises certain features of the Soviet avant-garde theatre, which testifies to the transnational character of South African working-class culture.

This article attempts to establish a theoretical framework within which the relationship between drama and history may be traced. The theoretical framework is provided by the juxtaposition of Keir Elam's interpretation of possible worlds in drama and Fredric Jameson's three horizons of interpretation. The framework is subsequently applied to Afrikaans playwright N.P. van Wyk Louw's commissioned drama, Die pluimsaad waai ver. But, Jameson's interpretation of an ‘ideology of form’ (ascribed to his third horizon of interpretation) is partly modified by the inclusion of postcolonial theory of literature. It is, consequently, possible to deduce that Die pluimsaad waai ver is, at least in part, a post-colonial text.

Multicultural plays? A preliminary investigationThis article is a preliminary investigation of the possible presence of multiculturalism in an English and in two Afrikaans plays. According to Hauptfleisch and Steadman (1987:3) the workshop production of Cincinatti: Scenes from city life is an example of an English South African multicultural drama. The first part of the article is an attempt to isolate some of the properties that may show the presence of multiculturalism in a play. It is improbable that one would find many Afrikaans plays complying with these requirements. However, an interpretation of the silence of the antagonist in ’n Koffer in die kas (A suitcase in the wardrobe) by Jeanne Goosen points the way to an alternative, sociosemiotic interpretation of multiculturalism. In this regard Guiraud (1975:90-98) refers to sociosemiotic signs that relate to rituals, fashions, protocols and games. These codes are subsequently applied to Don Gxubane onner die Boere (Don Gxubane among the Afrikaners) by Charles Fourie. The greatest part of the article is in fact devoted to a discussion of Don Gxubane. Perhaps the most disturbing finding touches on closure: in the conclusions of Don Gxubane, Cincinatti and ’n Koffer in die kas the reconciliation o f opposites seems unattainable.

Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and eventifying Afrikaans writing and performance, but also in communicating a particular vision of the Afrikaans-speaking and ‘Afrikaner’ cultural context. Using the Klein Karoo Nasionale Kunstefees in Oudtshoorn as a case study, in this article Temple Hauptfleisch discusses the nature, content, and impact of this particular festival as a theatrical event, and goes on to explore the polysystemic nature of the festival phenomenon in general. Temple Hauptfleisch is a former head of the Centre for South African Theatre Research (CESAT) and Chair of the University of Stellenbosch Drama Department. He is currently the director of the Centre for Theatre and Performance Studies at Stellenbosch and editor of the South African Theatre Journal. His recent publications include Theatre and Society in South Africa: Reflections in a Fractured Mirror (1997), a chapter in Theatrical Events: Borders, Dynamics, Frames (2003), and one on South African theatre in Kreatives Afrika: Schriftstellerlnnen über Literatur, Theater und Gesellschaft (2005).

Medea speaks Afrikaans Euripides’ “Medea” is one of the Greek dramas that have been and still are being translated, performed and adapted in many different languages and countries. Although no Afrikaans translation of this tragedy has been published, several Afrikaans translations and adaptations of it have been staged. This paper explores these plays and the circumstances of their production and focuses especially on Tom Lanoye’s “Mamma Medea” which has been translated into Afrikaans by Antjie Krog.

AFRIKAANS: Die Suid-Afrikaanse Akademie vir Wetenskap en Kuns vier vanjaar sy eeufees. Hierdie instansie is die kurator van die Hertzogprys, ’n gesogte letterkundeprys en die oudste en bekendste prestigetoekenning wat deur hierdie instansie gemaak word. Die terrein wat deur hierdie proefskrif gedek word, is die Akademie se houding teenoor en bevordering van Afrikaanse drama, met ’n geslypter fokus op die Hertzogprystoekennings vanaf 1915 tot net voor 1972. Etlike gegewens met betrekking tot die prys soos aangebied in reeds gepubliseerde werk, is verwarrend of nie feitelik korrek nie. Ten einde klarigheid daaroor te kry, is ’n grondige studie gemaak van die toekenningsprosedures en die invloed daarvan op die dramabekronings tot voor 1972. Dit was veral verhelderend met betrekking tot die dramaturg Uys Krige. Aanvanklik het die drie literêre kategorieë prosa, poësie en drama gelyktydig in aanmerking gekom vir die prys. Vanaf 1928 roteer dit en kom Afrikaanse dramas elke derde jaar aan die beurt. In vergelyking met die literêre kategorieë prosa en poësie, is daar relatief min dramabekronings gemaak – veral aan die beginjare van die prys. Deur noukeurige studie is gepoog om die gebrek aan dramatoekennings in perspektief te stel. Klem word gelê op die rol wat prosedures gespeel het, byvoorbeeld minder goeie prosedures wat veroorsaak het dat die verkeerde of geen toekennings gemaak is nie en sodoende bygedra het tot ’n skewe beeld wat bestaan oor Hertzogprystoekennings vir Drama. Sekere toekennings (of gebrek daaraan) kan direk gekoppel word aan foutiewe uitsprake van administratiewe amptenare, onbevredigende prosedures of aan die invloed van persone wat seggenskap oor die prys gehad het. Bepalende bakens en beslissings word aangetoon. Die sestigerjare was in die geskiedenis van die land en van die Akademie vol beroeringe. Met betrekking tot die Akademie se beleid oor die handhawing en bevordering van die Afrikaanse kultuur, het Akademielede van mekaar verskil oor die vertolking en uitlewing daarvan. Dit het gelei tot uiteenlopende menings oor die rigting wat die Akademie moes inslaan, maar ook oor sekere literêre werke. Verskillende menings het geheers oor wie die finale seggenskap oor die Hertzogprys moes hê: die Akademieraad as kurator van die prys volgens die skenkingsakte, of die Letterkundige Kommissie wat die kundiges op letterkundegebied was. Hierdie meningsverskille is op die spits gedryf in 1966 – die jaar waarin Uys Krige vir ’n dramatoekenning aanbeveel is. Die Akademieraadsbesluit om nie daardie jaar ’n prys toe te ken nie, het hewige kritiek ontlok – selfs van Kommissielede, en sou nog vir jare daarna ’n rimpeleffek hê. Die eerste staande Letterkundige Kommissie is aangewys vir die periode April 1968 tot April 1971 en die eerste toekenning waaroor hulle moes besluit, was die Dramatoekenning van 1969. In teenstelling met die stormagtige sestigerjare, het dramabekronings in die jare daarna verloop sonder onmin tussen die Akademieraad, die Fakulteitsraad en die Letterkundige Kommissie. Die jare waartydens ’n Hertzogprys vir Drama toegeken kon word vanaf 1972 tot 2009, word slegs kortliks en skematies gedek om die bespreking af te rond met betrekking tot dié dramaturge wat reeds voor 1972 gedebuteer het, maar eers daarna met die prys bekroon is. ENGLISH: The year 2009 marks the centenary celebrations of the Suid-Afrikaanse Akademie vir Wetenskap en Kuns. This institution is the curator of the Hertzog Prize, a sought-after literary prize and the oldest and most prestigious award made by this institution. This dissertation focuses on the Academy’s attitude towards and advancement of Afrikaans drama, with the focus on the Hertzog Prize awards from 1915 until 1971. Certain information relating to the prize as recorded in previously published works on the subject, are confusing and factually incorrect. In an effort to clarify these, an in depth study was undertaken of the award procedures and their influence on the awards for drama up to 1972. It was especially enlightening with regard to the dramatist Uys Krige. Initially the three literary categories prose, poetry and drama were considered simultaneously, but as from 1928 they rotate and Afrikaans dramas are considered every third year. In comparison with the literary categories prose and poetry, there is a paucity of drama awards – especially during the early years of the prize. An effort was made to place the paucity in perspective. Emphasis is placed on procedures with specific reference to those less than perfect ones which lead to incorrect, or the lack of, awards, resulting in a warped image of drama awards. Certain awards or lack thereof, can be attributed to incorrect statements by administrators, unsatisfactory procedures or the influence of people with authority. Defining beacons and decisions are indicated. In the nineteen sixties the country and the Academy experienced years of turbulence. With regards to the Academy’s policy on the protection and advancement of Afrikaans culture, members of the Academy differed on the interpretation and implementation thereof. This lead to differing views on the Academy’s course and on certain literary works. There were different views on who should have the final say on the Hertzog Prize: the Board as curator of the prize according to the deed of gift, or the Commission for Literature as literary experts. These differences lead to a boiling point in 1966 when Uys Krige was nominated for the prize. The Board’s decision not to award the prize lead to severe criticism – even from members of the Committee, and had a ripple effect for years thereafter. The first standing Commission for Literature was appointed for the period April 1968 to April 1971 and the first award they had to adjudicate was the Drama award for 1969. As opposed to the stormy sixties, the awards for drama in the following years were made without discord between the board of the Academy, the Faculty and the Commission for Literature. The years during which the Drama Prize could be awarded during the period 1972 to 2009 are dealt with briefly and schematically in order to conclude the discussion with reference to those dramatists who made their drama debut before 1972, but were only awarded the Hertzog Prize after 1972.
Thesis (DLitt)--University of Pretoria, 2010.
Afrikaans
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Thesis (DLitt (Afrikaans))-Universiteit van Pretoria, 2010.
"Die Suid-Afrikaanse Akademie vir Wetenskap en Kuns vier vanjaar sy eeufees. Hierdie instansie is die kurator van die Hertzogprys, ̕n gesogte letterkundeprys en die oudste en bekendste prestigetoekenning wat deur hierdie instansie gemaak word." Includes bibliographical references.

Thesis (MDram (Drama))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: Production houses, theatres and arts festivals are closely involved in the development of the Afrikaans theatre industry. Other than the first two entities, arts festivals, with their special focus on Afrikaans theatre, are a recent development of the shifting situation in post-1994 South Africa, when political changes led to a new climate surrounding the arts in general and drama in particular, creating a free-market situation with a number of specific challenges. A historical overview of the three entities is provided before an investigation is undertaken to establish the extent to which the arts industry is managed according to business principles. The focus falls on drama groups, theatres and Media24 sponsored arts festivals in particular, as observed within the broader context of the English theatre industry, from which a lot can be learnt. The hypothesis of this study is that some of the problems which the Afrikaans drama industry faces, can be ascribed to the fact that the management of the industry is creativity-orientated rather than business-orientated. From examples of stage productions, as well as a variety of data obtained from both written and oral sources – due to a shortage of research in this field – analyses were undertaken of the Afrikaans drama industry’s performance in order to establish in how far business principles are applied, the lack of skills experienced and how marketing can be improved. This study finds that it is difficult to come to obvious conclusions due to the number of variables. Broad guidelines could be established, however, linked to aspects such as market research on the segmentation of target groups, the choice of themes and players, demand and affordability. The key to efficient marketing lies in a thorough knowledge of the field, combined with the strategic management of demand and supply. A proper balance between business principles and creativity is of cardinal importance in order to allow Afrikaans theatre to grow to its full potential.
AFRIKAANSE OPSOMMING: Produksie-geselskappe, teaters en kunstefeeste is baie nou gemoeid met die ontwikkeling van die Afrikaanse teater-industrie. Anders as die eerste twee entiteite is kunstefeeste wat besondere aandag aan die Afrikaanse teater bestee, egter ’n onlangse uitvloeisel van die veranderde situasie in Suid-Afrika na 1994, toe politieke veranderinge die klimaat rondom die kunste in die algemeen en toneel in die besonder ingrypend verander het en ’n vryemark-situasie geskep is wat heelwat uitdagings stel. Die geskiedenis van die drie entiteite word aanvanklik oorsigtelik nagegaan, voordat ondersoek word in watter mate die kunste-industrie bedryf word op grond van sakebeginsels. Die fokus val op Afrikaanse toneelgeselskappe, teaters en veral op die Media24-kunstefeeste, maar soos gesien binne die ruimer konteks van die Engelse teaterbedryf waaruit heelwat geleer kan word. Die hipotese van die ondersoek is dat sommige probleme in die Afrikaanse toneelbedryf daaraan toegeskryf kan word dat die teaterkuns kreatief eerder as besigheidsgeoriënteerd bestuur word. Uit voorbeelde van toneelproduksies, asook op grond van ’n verskeidenheid data wat weens die tekort aan bestaande navorsing beide mondeling én skriftelik verkry is, word ontleed hoe die Afrikaanse toneelbedryf vaar rakende sakebeginsels, watter leemtes bestaan en hoe suksesvolle bemarking kan plaasvind. Daar word bevind dat dit weens al die veranderlikes moeilik is om afleidings te maak, maar breë tendense kan tog vasgestel word, gekoppel aan aspekte soos marknavorsing rondom die segmentering van teikengroepe, die keuse van temas en spelers, behoeftes en bekostigbaarheid. Die sleutel tot effektiewe bemarking lê in grondige kennis van die terrein, gekombineer met die strategiese hantering van vraag en aanbod. ’n Gesonde balans tussen sakebeginsels en kreatiwiteit is ten slotte kardinaal, ten einde die Afrikaanse toneel ten volle tot sy reg te laat kom.

Thesis (MDram)--University of Stellenbosch, 2002.
ENGLISH ABSTRACT: Creative expression is influenced by social structures and the political climate of the day. Therefore theatre as a social structure has been directly influenced by colonialism and apartheid. Restricting legislation had a limiting influence on cultural activities and freedom of creative expression. The following terms all refer to community based theatre activities: Community Theatre, Popular Theatre, Theatre for Development, People's Theatre and sometimes Workshop Theatre. Community theatre in post-colonial African countries take place in locations easily accessible to the communities it serves. These activities make use of creative techniques that the target communities can identify with. The subject-matter is generally relevant and is therefore accessible. The conscientisation- and mobilisation-potential of community theatre become evident in post-colonial African countries. The uses of this term in South Africa is closely connected with the above, but the applications in practice are more diverse because of a longer period of Western influence. Popular Theatre encapsulates theatre activities focussing on mass-appeal and popular entertainment as well as theatre activities by and for marginalised communities. "Popular Theatre" activities that take place within marginalised communities make use of collective creative approaches that are aimed at community conscientisation and mobilisation. Like Community Theate and Popular Theatre, Theatre for Development is theatre for, by and of the people (marginalised people, ordinary workers and the unemployed). Certain Theatre for Development projects approach the target communities with pre-planned agendas and creative subject-matter. Theatre for Development, like other community based theatre forms, are aimed at conscientisation, mobilisation and organisation to encourage political liberation and promote a higher standard ofliving. Workshop Theatre encourages people to express themselves by using a democratic and collective creative approach. These characteristics are also present in the previously mentioned theatre forms. Community Theatre, Popular Theatre and Theatre for Development can all be categorised as community based theatre and the terms are interchangable in pracitce.
AFRIKAANSE OPSOMMING: Politieke omstandighede en daaglikse gebeure beïnvloed die keuse van uitdrukkingsvorme. Kolonialisme en veral die apartheidsbeleid in Suid-Afrika het sosiale strukture, waaronder teater, beïnvloed. Wetgewing en beperkte infrastruktuur het kulturele aktiwiteite, kreatiewe uitdrukking en kulturele vloei beperk. Gemeenskapsgebaseerde teateraktiwiteite in Suid-Afrika word meestal benoem met die volgende terme: Gemeenskapsteater, Populêre Teater, Teater vir Ontwikkeling, "People's Theatre", asook Werkswinkelteater wat in Suid-Afrika soms sosio-polities van aard is. Gemeenskapsteater in post-koloniale Afrika-lande is ten opsigte van vorm en inhoud vir die teikengemeenskap toeganklik en vind plaas in maklik bereikbare ruimtes. Die bewusmakings- en mobiliseringspotensiaal van Gemeenskapsteater kom sterk na vore in post-koloniale Afrika-lande. Die gebruike van die term "Gemeenskapsteater" in Suid- Afrika sluit by bogenoemde aan, maar het ook meer diverse toepassings wat by ontwikkelde lande se beskouings aansluit. Populêre Teater ondervang teateraktiwiteite wat fokus op massa-aanhang, sowel as teateraktiwiteite wat gemik is op gemarginaliseerdes. In laasgenoemde konteks is dit gerig op bemagtiging en word 'n kollektiewe skeppingsproses gebruik. Teater vir Ontwikkeling is soos Gemeenskapsteater en Populêre Teater, teater vir, deur en van "die mense" (gemarginaliseerdes, massa gewone werkers en werkloses). Anders as Gemeenskapsteater kan daar 'n voorafopgestelde agenda of gekose onderwerp wees. Soos ander gemeenskapsgebaseerde teater strewe dit na bewusmaking, mobilisasie en organisasie ter wille van bevryding en verhoogde lewensstandaarde in gemarginaliseerde gemeenskappe. Werkswinkelteater het 'n demokratiese en kollektiewe skeppingsproses wat selfvertroue en die vermoë tot uitdrukking aanmoedig. Dit is 'n eienskap wat ook teenwoordig is in die voorafgenoemde teatervorme. Teateraktiwiteite wat met die terme Gemeenskapsteater, Populêre Teater en Teater vir Ontwikkeling benoem word, kan gekatagoriseer word as gemeenskapsgebaseerde teater en is dikwels in die praktyk omruilbaar.

Thesis (MA)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: South African theatre and especially Afrikaans theatre has become increasingly dependent on the annual arts festivals. These events only last for a week at a time and most productions are unable to make the move to a larger, more commercial urban venue, and are therefore unable to survive beyond the festival. In addition to being lost to future audiences, little attempt is made to keep record of these productions, which makes research surrounding festival productions very problematic. Television has the ability to make audio-visual records of events and to showcase them to a large audience. The primary aim of this study was to investigate the possibility of translating theatre to television for the purpose of expanding the potential audience of Afrikaans theatre productions, while simultaneously making audio-visual records of these events. After the possibilities had been examined, the study began to construct a proposed mode of operation for a season of Afrikaans theatre on television. International trends in the practice of translating theatre to screen were examined which included film and television adaptions of stage plays and live recordings of stage plays. The most significant initiative the study encountered was the NT Live (National Theatre Live) project that records live performance on the stages of the National Theatre, while simultaneously transmitting them live in high definition to cinemas across the globe. The study then shifted its focus to South Africa where it determined what had been done in the practice of translating theatre to screen in this country. The struggle to obtain sufficient and easily accessible information on local examples proved that there is an overall lack of theatre documentation and archiving in South Africa. It also found that South Africa did not have an equivalent to a project such as the NT Live. After discovering that there have been South African television endeavours that involved the recording of live performance, the study used the NT Live initiative as case study in constructing a South African model for television. While constructing a proposed mode of operation for a series of Afrikaans theatre on television, it was indicated how these recordings could serve as a documentation process and research resource for productions. Three possible models for translating theatre to television were constructed to better determine what the possibilities were in terms of the content and format of such a series.
AFRIKAANSE OPSOMMING: Suid-Afrikaanse teater en veral Afrikaanse teater, is besig om al hoe meer afhanklik van die jaarlikse kunstefeeste te word. Dié geleenthede duur gewoonlik net ‘n week op ‘n slag en vir meeste produksies is dit nie moontlik om ‘n speelvak in die groter, kommersiële teaters in die stede van die grond af te kry nie en dus het die produksies nie ‘n lewe ná die fees nie. Verder gaan moontlike gehore ook verlore en word daar nie veel van ‘n poging aangewend om die produksies te dokumenteer nie, wat navorsing rondom feesproduksies baie problematies maak. Televisie het die vermoë om oudio-visuele rekords van gebeure te maak, sowel as om hierdie gebeure aan ‘n groot gehoor bloot te stel. Die hoofdoelstelling van hierdie studie was om die moontlikheid van ‘n verplasing van teater na televisie te ondersoek, met die doel om Afrikaanse teaterproduksies se potensiële gehoor te verbreed en terselfdertyd oudio-visuele rekords van hierdie produksies te maak. Nadat die studie die moontlikheid ondersoek het, het dit ‘n voorgestelde modes operandi vir ‘n seisoen van Afrikaanse teater vir televisie begin konstrueer. Die studie het internasionale tendense in die praktyk van die verplasing van teater na die groot en klein skerm ondersoek. Die voorbeelde het film- en televisieverwerkings van verhoogstukke, sowel as lewendige opnames van verhoogproduksies ingesluit. Die merkwaardigste inisiatief wat die studie teëgekom het, is sekerlik die NT Live (National Theatre Live) projek, wat lewendige opnamens van toneelopvoerings op die National Theatre se verhoë in London maak en terselfdertyd hierdie opnames lewendig in “high definition” uitsaai na film-teaters regoor die wêreld. Daarna het die studie die fokus verskuif na Suid-Afrika om te probeer vasstel wat al in hierdie land gedoen is in die verplasing van teaterproduksies na die skerm. Die gebrek aan maklik-verkrybare en toeganklike inligting het dit duidelik gemaak dat daar ‘n algehele gebrek aan teaterdokumentasie en die bewaring daarvan is. Die studie het ook ontdek dat Suid-Afrika nie iets soortgelyks aan die NT Live inisiatief het nie. Nadat daar televisieprojekte ontdek is wat wél in een of ander manier die opname van lewendige opvoerings behels, het die studie besluit om die NT Live inisiatief as gevallestudie te gebruik om ‘n Suid-Afrikaanse model vir televisie te skep. In die proses om ‘n moontlike produksieproses vir ‘n seisoen van Afrikaanse teater of televisie te definieer, het die studie ook probeer vasstel hoe hierdie tipe opnames kan dien as ‘n dokumentasieproses en navorsingsbron vir produksies. Drie moontlike modelle vir die verplasing van teater na televisie in reeksvorm is geskep om ‘n beter idee te kry van wat die moontlikhede in terme van die inhoud en formaat van so ‘n reeks is.

Thesis (MA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: Euripides’s Medea have been staged a number of times in the new South Africa. This study’s purpose is to provide a practical example of a rewritten Medea set in a contemporary Afrikaner community. The political climate and gender views employed in the Euripidean Medea are analysed and compared to that of the new text. The themes in the Euripidean Medea are analysed as well as possible themes in the Afrikaner community to provide the new text with contemporary social trends in the white Afrikaner community. The style of the Euripidean Medea is analysed and adapted in the new play to create a style that can be accommodated in contemporary South African theatre. Appropriating Medea in an Afrikaner community will hopefully provide future theatre-makers with a narrative of the practical process of appropriation from which more universal principles on the practice can be derived as the play has never been fully rewritten in Afrikaans to create an authentic play.
AFRIKAANSE OPSOMMING: ’n Aantal produksies van Euripides se Medea is in die nuwe Suid-Afrika gedoen. Die doel van hierdie studie is om ’n praktiese voorbeeld te skep van ’n nuutgeskrewe Medea wat verplaas is na ’n kontemporêre Afrikaner gemeenskap. Die politieke klimaat en geslagsrolle in die Euripidese Medea word ontleed en vergelyk met dié van die nuwe teks. Die temas in die Euripedese Medea word ontleed, asook moontlike temas in die Afrikaner gemeenskap om kontemporêre sosiale tendense vir die nuwe teks te vind. Die styl van die Euripedese Medea is ontleed en in die nuwe teks aangepas tot ’n styl wat in die kontemporêre Suid Afrikaanse teater haalbaar is. Deur Medea te verplaas na ’n Afrikaner gemeenskap, kan ʼn moontlike voorbeeld geskep word wat as narratief vir toekomstige teatermakers kan dien vir die praktiese proses van verplasing waaruit universele beginsels gevorm kan word aangesien die drama nog nie vantevore volkome herskryf is tot ’n outentieke drama in Afrikaans nie.

AFRIKAANS: Die navorsing is gedoen vanuit 'n postfundamentalistiese narratiewe prakties- teologiese benadering. Die fokus van die studie was tweeledig. Die eerste was om na die stories van 'n groep meisies, wat hulself as homoseksueel gesien het en daarom gemarginaliseer is, te luister. Die tweede deel was dat deur die proses daar intervensie sou wees wat aan die meisies die kennis en die mag sou gee om hulle verhale op so 'n manier oor te vertel dat hulle die hoofrolle van hulle eie lewensdramas sal word en nie net karakters of ekstras op die verhoog van die lewe sou wees nie. Verhale van nood moet dus verruil word vir verhale van hoop. Om die verhale van die meisies beter te verstaan is daar van 'n groep interdissiplinêre helpers gebruik gemaak. Die meisies se verhale is verder ook sosiaal-konstruksionisties benader. Die meisies se verstaan van hulle konteks, die kerk, hulle vriende, homoseksualiteit, God, kerkleiers en hulle inskakeling by die kerk en hulle identiteit is ondersoek en saam met die groep gedekonstrueer. Die navorsingsverhaal is dus 'n verhaal waar daar weer opnuut gekyk is na die hantering van tieners, hulle wêreldbeeld en soeke na identiteit en aanvaarding binne 'n wêreld wat hulle nie altyd verstaan nie, en die rol van die geloofsgemeenskap in die proses. ENGLISH: The research was done from a post-foundational, narrative, and practical theological position. The focus of the study had two intentions. The first was to listen to the stories of a group of girls, who saw themselves as homosexual and because of that was marginalised. The second intention was that in the process there would be intervention in their stories. This intervention was supposed to give the girls the necessary knowledge and power to help them to tell their stories. This telling would then place the girls not as extras on the stage of their own lives but as playing the leading roles. Negative stories had thus to be exchanged for stories of hope. To get a better understanding of the stories of the girls, there was made use of an interdisciplinary team of helpers. The stories were also interpreted from a social constructionist point of view. The understanding the girls had of their context, the church, their friends, homosexuality, God, church leaders, their membership of the church and their identity was researched and deconstructed with them in a process. The research story is a story where the handling of teenagers, their world view and their search for identity and acceptance in a world that doesn’t always understand them and their involvement in the church in this process was looked at with fresh eyes.
Thesis (PhD)--University of Pretoria, 2011.
Practical Theology
unrestricted

Thesis (MDram)--University of Stellenbosch, 2011.
ENGLISH ABSTRACT: This study examines the contemporary Afrikaans cabaret and the theatrical forms related to it. As background to the study and to determine the original nature of cabaret, I have examined the European origin of the Afrikaans cabaret. Afrikaans cabaret is discussed further by looking at the nature of the original Afrikaans cabaret in the 1980’s. As a constantly evolving art form, the Afrikaans cabaret has undergone multiple changes since its beginning in the 1980’s and because of this the nature of the contemporary Afrikaans cabaret is discussed through the use of the comedy sub-genres: stand-up comedy, one man comedy and sketch comedy. These comedy sub-genres add to the entertainment value of the cabaret and are discussed through the comic elements that can be used in contemporary Afrikaans cabaret. The function of Afrikaans cabaret as social commentator is also examined by placing it against contemporary Afrikaans rock music. The rock movements referred to in this study, which are largely related to socio-political commentary, are the 1980’s Voëlvry-tour as well as the contemporary Afrikaans rock group Fokofpolisiekar. As conclusion the study finds that cabaret is allusive in nature, but that social criticism is the core element. It seems, however, that the contemporary Afrikaans cabaret is more focussed on entertainment without social commentary and that this contemporary function is influenced by numerous factors.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die kontemporêre Afrikaanse kabaret en sy aanverwante vorme. As agtergrond tot die studie en om die oorspronklike aard van kabaret te bepaal, word daar na die Europese oorsprong van die Afrikaanse kabaret gekyk. Die Afrikaanse kabaret word verder ondersoek deur na die aard van die oorspronklike Afrikaanse kabaret in die 1980’s te kyk. As kunsvorm wat voortdurend vervorm, het die Afrikaanse kabaret sedert die aanvang in die 1980’s baie veranderinge ondergaan en as gevolg hiervan word die kontemporêre Afrikaanse kabaret se aard deur middel van die komedie sub-genres: skerpskerts, eenmankomedie en sketskomedie ondersoek. Hierdie komedievorme dra by tot kabaret se vermaaklikheidswaarde en word bespreek aan die hand van die komiese elemente wat in die kontemporêre Afrikaanse kabaret gebruik kan word. Die Afrikaanse kabaret se funksie as sosiale kommentaar word ook ondersoek en teenoor kontemporêre Afrikaanse rock-musiek gestel. Die rock-bewegings waarna daar grotendeels in hierdie studie verwys word, is op sosio-politieke kommentaar gerig en ondervang daarom die Voëlvry-toer van die 1980’s, sowel as die kontemporêre rock-musiekgroep Fokofpolisiekar. Die studie bevind ten slotte dat kabaret ontwykend van aard is, maar dat sosiale kritiek ‘n kernelement is. Dit blyk egter dat die kontemporêre Afrikaanse kabaret meer gefokus is op vermaaklikheid sonder sosiale kommentaar en dat hierdie kontemporêre funksie aan verskeie faktore toegeskryf kan word.

Thesis (PhD)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: In the past drama education was an uncommon occurrence in South African schools, limited to the elective subject Speech and Drama at secondary level, which was only offered in a few schools in some of the provinces. The assumption is made that the introduction of Arts and Culture as one of the eight learning areas in Curriculum 2005 has greatly impacted on drama education at school level. This study aims to determine the state of affairs with regards to drama education within the current (2011) education system by investigating the nature, implementation and outcomes of drama curricula in South African schools. In the context of the far-reaching changes that has occurred in South African education since 1994, a historical overview of education before 1994 is given to act as a backdrop for a discussion of the process of education reform. The shift to an outcomes-based education approach is investigated by defining and discussing it in relation to the chosen South-African approach; identifying and discussing the theories and philosophies underpinning an outcomes-based approach to education; and looking at the national curriculum from its introduction as Curriculum 2005 until the recent revision of the National Curriculum Statement (Grades R-9), which will be phased into schools from 2012 as the Curriculum and Assessment Policy Statement. A comparative evaluation of the drama curricula in the current (2011) National Curriculum Statement (Grade R-12) and the drama curricula in the revised Curriculum and Assessment Policy Statement serves as the means to determine the nature, content and outcomes of the drama curricula. The Africanisation of the drama curricula is investigated and it becomes apparent that indigenous knowledge, traditions, customs and cultural practices are successfully included in the drama curricula. The comparative evaluation also leads to the conclusion that the revised national curriculum is a definite improvement on the status quo. Through the investigation of the nature and outcomes of the different drama curricula, it is possible to identify specific requirements for the successful implementation of drama curricula. With these requirements in mind possible challenges and/or problem areas with regards to the implementation of drama curricula are determined and discussed. These challenges and/or problem areas are the following: the curriculum itself, the socio-economic circumstances of schools and learners, language issues, the status of drama education at school level, time allocation and management, funding and infrastructure, and teacher training.
AFRIKAANSE OPSOMMING: Drama-opleiding op skoolvlak was in die verlede ’n nie-algemene verskynsel en is hoofsaaklik beperk tot die keusevak Spraak en Drama wat slegs in sekere provinsies by ’n beperkte aantal skole op sekondêre vlak aangebied is. Die veronderstelling word gemaak dat die bekendstelling van Kuns en Kultuur as een van die agt verpligte leerareas binne Kurrikulum 2005 ’n geweldige impak op drama-opleiding op skoolvlak gehad het en steeds het. Hierdie studie stel dit gevolglik ten doel om die stand van drama-opleiding binne die huidige (2011) onderwysstelsel te bepaal deur ’n ondersoek te loods na die aard, implementering en uitkomste van dramakurrikula in Suid-Afrikaanse skole. In die lig van die ingrypende veranderinge wat sedert 1994 binne Suid-Afrikaanse onderwys plaasgevind het, bied die studie eerstens ’n historiese oorsig van onderwys voor 1994 wat as agtergrond dien vir ’n bespreking van die onderwyshervormingsproses. Die oorskakeling na ’n uitkomsgebaseerde benadering tot onderwys word in oënskou geneem deur die gekose Suid-Afrikaanse onderwysbenadering te omskryf en te bespreek; die filosofieë en teorieë onderliggend tot ’n uitkomsgebaseerde onderwysbenadering binne die Suid-Afrikaanse konteks te identifiseer en te bespreek; en die nasionale skoolkurrikulum in oënskou te neem vanaf die bekendstelling van Kurrikulum 2005 tot en met die voorgestelde hersienings van die Nasionale Kurrikulumverklaring (Grade R-12) wat vanaf 2012 in skole infaseer word en bekend staan as die Kurrikulum- en Assesseringsbeleidverklaring. Deur middel van ’n vergelykende evaluering van die dramakurrikula in die huidige (2011) Nasionale Kurrikulumverklaring (Grade R-12) en die dramakurrikula in die hersiene Kurrikulum- en Assesseringsbeleidverklaring, word die omvang, inhoud en uitkomste van die dramakurrikula bepaal. Daar word ondersoek ingestel na die Afrikanisering van die dramakurrikula en dit word duidelik dat inheemse kennis, tradisies, gebruike en kultuurpraktyke op suksesvolle wyse binne die onderskeie dramakurrikula ingesluit word. Na afloop van die vergelykende evaluering word die afleiding gemaak dat die mees onlangse hersiening van die nasionale kurrikulum ’n definitiewe verbetering op die status quo is. Dit is moontlik om na aanleiding van die aard en uitkomste van die onderskeie dramakurrikula spesifieke vereistes vir die suksesvolle implementering van die dramakurrikula te identifiseer. In die lig van hierdie vereistes word moontlike uitdagings en/of probleemareas ten opsigte van die implementering van die dramakurrikula vasgestel en bespreek. Hierdie uitdagings en/of probleemareas is die volgende: die kurrikulum self, sosioekonomiese omstandighede van skole en leerders, taalkwessies, die status van dramaopleiding op skoolvlak, tydstoedeling en -bestuur, befondsing en infrastruktuur, en onderwyseropleiding.

In this chapter I present an overview of the most prominent trends in South African working-class literature from the beginning of the 20th century until 1994. Since its emergence, South African working class was a heterogeneous formation which encompassed diverse ethnicities, both of European and non-European origin. Each of them created its own literature and culture, using various languages, incorporating traditional elements and means of expression, and merging them with borrowed foreign discourses and literary devices belonging to the repertoire of socialist literature that had been created mostly in the Soviet Union, the USA and other European countries. Consequently, South African working-class literature can be conceived of as conglomerate of heteroglot hybrid forms and manifestations of a subversive counter-discourse of protest literature. The forms presented here include writings of European socialists commenting on South African situation, novels utilizing the Jim goes to Joburg plot pattern, drama incorporating the Soviet socialist realism and references to the Afrikaans farm novel, Afrikaans folk tunes functioning as protest songs, and black workers praise poetry based on tribal oral conventions. As a carrier of a new working-class identity, this literature promoted a modern urban model which, nevertheless, relied on the continuity with local rural traditions.

Novelist, poet, dramatist, and critic Stephen Gray was born in Cape Town and educated at the universities of Cape Town, Cambridge, and Iowa, where he was a member of the Iowa Writers Workshop. He edited Granta while at Cambridge and taught in France for some years before taking up a position at the Rand Afrikaans University (now the University of Johannesburg) in 1969, where he taught for some 20 years and became Professor of English. He took early retirement in 1991 and has since then worked as a freelance writer. The author of several works of poetry, drama, and fiction, Gray is also South Africa’s foremost anthologist and literary historiographer. Stephen Gray’s early novels are the satirical Local Colour (1975) and Invisible People (1977), and the historical Caltrop’s Desire (1980). His fascination with history is also reflected in John Ross: The True Story (1987), a fictionalized treatment of the life of Charles Maclean (‘John Ross’), a ship’s boy who survived a shipwreck off the Natal coast in 1825 and spent several years at the court of King Shaka. Later novels include Time of Our Darkness (1988), Born of Man (1989), and the semi-autobiographical War Child (1991). His autobiography, Accident of Birth, appeared in 1993.