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Journal articles on the topic 'Afrikaans drama'
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1
Stander, Danie. ""[L]aat my so hard skel tot die valse vrou": Voorstellings van vroulikheid in Anna Neethling-Pohl se Afrikaanse vertalings van William Shakespeare se Julius Caesar en Antony and Cleopatra." LitNet Akademies 20, no. 3 (November 29, 2023): 893–924. http://dx.doi.org/10.56273/1995-5928/2023/j20n3g2.
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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
2
Louw, S. "Die gebruik van narratiewe kodes by die TV drama: ’n steekproef." Literator 18, no. 2 (April 30, 1997): 67–84. http://dx.doi.org/10.4102/lit.v18i2.542.
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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.
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Drwal, Malgorzata. "The Garment Workers’ Union’s Pageant of Unity (1940) as manifestation of transnational working-class culture." Tydskrif vir Letterkunde 59, no. 1 (April 8, 2022): 75–87. http://dx.doi.org/10.17159/tl.v59i1.8842.
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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.
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Coetser, J. L. "Drama en geskiedenis: ’n voorlopige verkenning." Literator 14, no. 2 (May 3, 1993): 63–82. http://dx.doi.org/10.4102/lit.v14i2.701.
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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.
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Coetser, J. L. "Multikulturele dramas? ’n Voorlopige ondersoek." Literator 18, no. 1 (April 30, 1997): 65–82. http://dx.doi.org/10.4102/lit.v18i1.530.
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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.
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Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (April 19, 2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.
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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).
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Kruger, Alet. "Shakespeare in Afrikaans: A corpus-based study of inuoiuement in different registers of drama translation." Language Matters 35, no. 1 (January 2004): 275–94. http://dx.doi.org/10.1080/10228190408566217.
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Callens, Johan. "Afrikaans-Amerikaans Drama en Slavernij: van tragiek tot regeneratie of de louterende herinnering tussen utopie en praktijk." Documenta 31, no. 3-4 (April 16, 2020): 270–79. http://dx.doi.org/10.21825/doc.v31i3-4.16219.
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Van Zyl Smit, B. "Medea praat Afrikaans." Literator 26, no. 3 (July 31, 2005): 45–64. http://dx.doi.org/10.4102/lit.v26i3.236.
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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.
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du Preez, Petrus. "Babel en Breytenbach: Kwessies rondom die ‘verstaanbare’ in die Afrikaanse dramas van Breyten Breytenbach / Concerning the “incomprehensible” in the Afrikaans dramas of Breyten Breytenbach." South African Theatre Journal 18, no. 1 (January 2004): 184–220. http://dx.doi.org/10.1080/10137548.2004.9687786.
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Broodryk, Chris, and Danielle Britz. "The post-heroism of Stuur Groete aan Mannetjies Roux and Verraaiers." Tydskrif vir Letterkunde 60, no. 1 (May 8, 2023): 31–41. http://dx.doi.org/10.17159/tl.v60i1.15059.
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There is much scholarship on the linkages between Afrikaner nationalism and South African (Afrikaans-language) filmmaking. Within the context of a sustained post-apartheid renegotiation of Afrikaans or Afrikaner nationalism in the popular imagination, in this article we argue that two feature film historical dramas from the production company Bosbok Ses Films, Stuur groete aan Mannetjies Roux (2013) and Verraaiers (2013), resonate thematically and aesthetically with Thomas Elsaesser’s notion of post-heroic cinema. While a number of pre-1994 Afrikaans-language films celebrated Afrikaner nationalism as personified in the figure of the hero, this article positions and uses Elsaesser’s post-heroism as a critical lens through which to demonstrate the ways in which these two films call attention to a post-hero whose actions and behaviour (often inadvertently) renders a productive renegotiating of the hero figure within a post-apartheid cinematic context. To supplement Elsaesser, we also draw on Johan Degenaar’s writing on political pluralism. In this article, we find that an Elsaesserian post-heroic approach to the two films allows the following constitutive components of post-heroic cinema to surface: atemporality as opposed to linear narrative time, parapraxis (productive failure) as opposed to traditional iterations of heroic acts and valour, and conceiving of the film screen as a surface in flux as opposed to the screen as a mirror. The article’s contribution to existing scholarship on contemporary Afrikaans-language cinema is three-fold: it is the first to utilise an Elsaesserian approach to Afrikaans film and as such to foreground and investigate the figure of the post-hero, it provides a critical account of two independently-made feature films that remain under-researched in current South African film scholarship, and it contributes to discourse around the ways in which popular media inform and respond to the renegotiation of Afrikaans (or Afrikaans) identity.
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van Coller, H. P., and A. van Jaarsveld. "’n Ontleding van die verhoogverwerking van Die mugu (Etienne Leroux) deur Pieter Fourie as kreatiewe herskrywing: ’n genologiese studie." LitNet Akademies 20, no. 3 (November 19, 2023): 367–94. http://dx.doi.org/10.56273/1995-5928/2023/j20n3b8.
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Opsomming Pieter Fourie word allerweë as ’n sentrale figuur in die Afrikaanse drama beskou. In literatuurgeskiedenisse word klem gelê op veral die vernuwende, postmodernistiese aard van sy werk – onder meer sy dekonstruksie van hegemoniese strukture en geykte genrekonvensies, en die sterk intertekstualiteit in van sy werke (Antonissen, Brink en Odendaal 2016:163; Coetser 2016:259, 260, 262). Die postmodernisme staan in die teken van die vernietiging van hiërargieë en die afbreek van grense; só vervloei die grense tussen “hoër” en “laer” vorme van kultuur – die woord mixing word dikwels gebruik om dit aan te dui. Ook genregrense word nie meer beskou as definitief nie en in die onderhawige studie word daar melding gemaak van enkele teoretici, soos Cohen (1997), Hutcheon (2004) en Mukarovský (1977), wat die mening huldig dat hierdie onvastheid selfs die tradisionele onderskeid tussen die drie hoofgenres, poësie, prosa en drama, ondermyn; iets wat Fourie by uitstek doen, selfs deur die invoer van ballette in Koggelmanderman (2003). Daar word onder meer gebruik gemaak van adaptasieteorieë en teatersemiotiek om hierdie kreatiewe herskrywing te ontleed en te evalueer. Sonder om aanspraak te probeer maak op veralgemening, word daar deur ’n noulettende vergelyking tussen hierdie twee tekste getrag om te toon hoe sekere tipiese narratiewe tegnieke (onder andere die gebruik van ’n ouktoriële verteller, die gedagtestroomtegniek, beskrywings van ruimtes en karakters) beslag kry in die dramatiese ekwivalent, naamlik Fourie se adaptasie, en dat daar dus steeds sprake is – selfs by ’n postmodernis soos Fourie – van geykte genrekenmerke. Die bestudering van hierdie “toetsgeval” toon voorts dat adaptasie/verwerking/herskrywing altyd ’n vorm van vertaling is en in ooreenstemming met heersende teorieë word bevind dat die bronteks nie noodwendig gesien moet word as hiërargies belangriker as die doelteks nie. Wat voorop staan, is dat vertaling (as oorkoepelende term) oorsetting van een teks binne ’n ander semiotiese sisteem is en dat die klem dus eintlik val op die strategieë eerder as die geslaagdheid daarvan, hoewel die laasgenoemde kwalik vermy kan word. Die bevinding van hierdie ondersoek is dat die wedersydse kenmerke van die drama en prosa inderwaarheid steeds neerkom op twee verskillende (semiotiese) sisteme, met ander woorde dat wat in die prosa vertel word in die drama uitgespeel of voorgestel word. Trefwoorde: adaptasieteorie; dramatiese omwerking; genrekonvensies; grensoorskryding; intertekstualiteit; kreatiewe herskrywing; romanmatige en dramatiese representasie; teatersemiotiek
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Keuris, Marisa. "n Voelvlug oor die ontwikkeling en die gebruik van Kaapse Afrikaans (Kaaps) in Afrikaanse dramas." Journal of Literary Studies, May 4, 2022. http://dx.doi.org/10.25159/1753-5387/10884.
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In this article, I give a bird’s eye view of the development of Kaaps (Afrikaans) drama: from the early days of Dutch Afrikaans drama when the use of so called “Hottentots Dutch” was first introduced to contemporary works that make use of Kaaps. Since “language” in drama is foregrounded by the use of dialogue by the characters in a play, the focus of this discussion is mainly on dramatic dialogue. Some insights of Vimala Herman as discussed in her seminal study, Dramatic discourse: dialogue as interaction in plays (1995), are used to structure this article’s theoretical parameters. She makes the point that dramatic dialogue is not simply the reflection of ordinary speech between speakers or even the “refinement” of such speech but is, in fact, much more complicated and should rather be seen as an imitation of the rules and conventions underpinning real life discourse. The playwright simply creates the illusion that a specific conversation is taking place between characters. An analysis of dramatic dialogue should, however, also be accompanied by an understanding of the greater contextual context of a play (eg. the socio political issues addressed or implied in such a work). From the various examples given in the article, one can discern through the use of dramatic language a particular development from the early Dutch Afrikaans play’s paternalistic depictions of so called “Hottentot” characters by white playwrights, to more sympathetic contemporary depictions of Khoisan characters by white playwrights. Today the use of Kaaps is increasingly used by their own playwrights to give authentic portrayals of urban coloured communities. Opsomming In hierdie artikel word 'n voelvlug van die ontwikkeling van Kaapse Afrikaans (Kaaps) in die Afrikaanse drama verskaf: vanaf die vroee dae van Hollands Afrikaanse drama tot by kontemporere werke wat van Kaaps gebruik maak. Aangesien “taal” in drama hoofsaaklik na te gaan is in die dialoog wat karakters gebruik, is die fokus in hierdie bespreking op dramatiese dialoog. Die artikel se teoretiese raamwerk word gerig deur die toepassing van sommige insigte soos bespreek in Vimala Herman (1995) se seminale studie, Dramatic Discourse: Dialogue as Interaction in Plays. Herman verwerp 'n dikwels algemene oortuiging dat dramatiese diskoerse grotendeels 'n weerspieeling is van alledaagse gesprekke—moontlik net fyner verwerk of aangepas deur 'n dramaturg vir die verhoog. Dramatiese dialoog is in der waarheid die nabootsing van die spraakreels en spraakkonvensies wat gewone gesprekke onderle en skep gewoon die illusie dat 'n bepaalde gesprek gevoer word. 'n Analise van dramatiese dialoog moet egter ook vergesel word van 'n begrip van die groter konteks waarbinne 'n drama geplaas is (byvoorbeeld die sosiopolitieke aangeleenthede wat die werk aanspreek of impliseer). 'n Mens kan wel 'n bepaalde ontwikkeling opmerk uit die onderskeie voorbeelde wat kortliks bespreek word, naamlik vanaf die vroee Hollands Afrikaanse dramas se paternalistiese uitbeeldings van sogenaamde “Hottentot” karakters tot meer simpatieke kontemporere uitbeeldings van Khoisan karakters deur Wit dramaturge. Vandag vind ons toenemend die gebruik van Kaaps om outentieke uitbeeldings te gee van stedelike Bruin gemeenskappe deur hulle eie dramaturge.
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Keuris, Marisa. "The changing world of Afrikaans drama translations and adaptations: A few remarks." Tydskrif vir Geesteswetenskappe 60, no. 1 (2020). http://dx.doi.org/10.17159/2224-7912/2020/v60n1a2.
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Drwal, Małgorzata. "Afrikaans Working-Class Drama in the Early 1940s: Socialist Realism in Die Offerande by Hester Cornelius." Dutch Crossing, February 3, 2020, 1–16. http://dx.doi.org/10.1080/03096564.2020.1723861.
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Joynt, Shaun, and Chris Broodryk. "Screening the church: A study of clergy representation in contemporary Afrikaans cinema." HTS Teologiese Studies / Theological Studies 74, no. 1 (July 18, 2018). http://dx.doi.org/10.4102/hts.v74i2.4891.
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The church-funded CARFO or KARFO (Afrikaans Christian Filmmaking Organisation) was established in 1947, and aimed to ‘[socialise] the newly urbanized Afrikaner into a Christian urban society’ (Tomaselli 1985:25; Paleker 2009:45). This initiative was supported and sustained by the Dutch Reformed Church (DRC), which had itself been part of the sociopolitical and ideological fabric of Afrikaans religious life for a while and would guide Afrikaners through tensions between religious conservatism and liberalism and into apartheid. Given Afrikaans cinema’s ties with Christian religious and political conservatism, we explore the role – even the centrality – of the Afrikaans church in cultural activity before 1994, and then after 1994. Here, Afrikaans church is an inclusive term that brings together various denominations of Afrikaans-speaking churches, but which mainly suggests the domination of the DRC. After establishing the role of the Afrikaans church in the way described above, we move towards the primary focus of our study: exploring the representation of clergy in the contemporary Afrikaans film Faan se Trein in order to describe certain theological implications of this representation. With reference to Faan se Trein, our article notes and comments on the shifts that have occurred in clergy representation in Afrikaans cinema over the past decades. Osmer’s four tasks of practical theology, namely, descriptive, interpretive, normative and strategic are used for theological reflection. With due contextual reference to Afrikaans film dramas such as Broer Matie [Brother Matie], Saak van Geloof [A Matter of Faith], Roepman [Stargazer], Stilte [Silence], Suiderkruis [Southern Cross] and Faan se Trein, we arrive at some preliminary conclusions about the representation of clergy in mainly contemporary Afrikaans cinema.
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Krüger, Lida. "Albertyn lewer ’n onskatbare bydrae tot die Afrikaanse drama." Literator 40, no. 1 (August 20, 2019). http://dx.doi.org/10.4102/lit.v40i1.1643.
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Wepener, Cas. "Sewe heerlike homiletiese doodsondes." Stellenbosch Theological Journal 5, no. 2 (December 5, 2019). http://dx.doi.org/10.17570/stj.supp.2019.v5n2.a28.
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Seven delectable homiletical deadly sins. Sinful insights from creative writing and (Afrikaans) literatureHomiletics can learn much from Literature. Poets, novelists and short story writers are all masters of the written word. While they practise their art form, they very specifically keep their readers in mind. The same holds true for preachers with regard to both the spoken and written word. Through the ages writers of works of literature have employed a vast amount of rhetorical wisdom, insights they have gained from both language and literature, which they use in their stories, dramas and poems. In this chapter seven of these insights will be explored as insights from which preachers can benefit. This exploration is done by making use of the seven deadly sins, but in this article, they are deadly sins that preachers should commit week after week. This chapter is in that sense a plea for a harmatological Homiletics. Pride is the first step needed to a create hit. Greed with regard to the attention of the hearers should be committed boldly. A preacher who makes use of lust will unleash desire in the hearers and an angry preacher meets many hearers in the situation they currently find themselves. Preachers who are gluttons, swallow their hearers in their total being and an envious preacher inculturate the pulpit by means of meaningful intertextuality. And the best preachers are the lazy ones, because the show their rather than tell.