Relevant bibliographies by topics / Theatre and state – South Africa

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Theatre and state – South Africa'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Theatre and state – South Africa"

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Kruger, Loren. "Introduction: Scarcity, Conspicuous Consumption, and Performance in South Africa." Theatre Research International 27, no. 3 (October 2002): 231–42. http://dx.doi.org/10.1017/s0307883302000317.

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While anti-apartheid theatre was known worldwide for dramatizing the struggle against apartheid, theatre in South Africa today is hampered by the loss of a focused movement for change and by inefficient and compromised institutions of patronage and development. Well-placed administrators and stakeholders channel limited subsidy to large institutions such as the Market and the State Theatre, whose repertoires are dominated by nostalgic revivals, while cutting-edge performance must rely on corporate or international support. Under these conditions, theatre that is innovative in seeking new audiences and functions, as well as forms, happens often outside theatres: in film and radio, in education, and as an informal legacy of the Truth and Reconciliation Commission's project of personal and national healing.
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ROKEM, FREDDIE. "Editorial: Wherein the articles of this issue and some new developments for TRI are introduced." Theatre Research International 33, no. 1 (March 2008): 1–3. http://dx.doi.org/10.1017/s0307883307003355.

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In the summer of 2007 the annual conference of the International Federation of Theatre Research (IFTR/FIRT) met for the first time in Africa. Hosted by Stellenbosch University in South Africa, it was probably the first international theatre conference of its kind on the continent, enabling scholars and practitioners from all over the world as well as from many African countries to present their work on the conference theme: ‘Theatre in Africa – Africa in the Theatre’. This issue of TRI opens with two articles which reflect the deep interest among non-African scholars in the latest developments on African stages as well as the challenge of depicting its complex state of affairs from within. Both contributions examine strategies of subversion mobilized by theatre to create continuity and identity through different readings of the historical past.
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HAUPTFLEISCH, TEMPLE. "Tipping Points in the History of Academic Theatre and Performance Studies in South Africa." Theatre Research International 35, no. 3 (October 2010): 275–87. http://dx.doi.org/10.1017/s0307883310000581.

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This article considers five tipping points or phases in the development of modern theatre studies in South Africa. It begins with the period from 1925 to 1935, a time when the first major theatre history appeared, a fully fledged (Western) theatre system was established and the African theatre tradition was recognized. It details 1945 to 1962 for the establishment of a coherent professional theatre system, the first state-funded theatre company and the first drama departments. Thereafter, 1970 to 1985 is identified as the most significant period in relation to the political struggle for liberation in South Africa, while the last two phases (1988–94 and 1997–9) under consideration are characterized by an increase in research output and by the need for practitioners and commentators to seek reconciliation and healing through theatre and performance.
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Blank, Martin. "Eugene O'Neill in South Africa: Margaret Webster's Production of A Touch of the Poet." Theatre Survey 29, no. 1 (May 1988): 113–16. http://dx.doi.org/10.1017/s0040557400009133.

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Margaret Webster (1905–1972), British-American producer-director perhaps best remembered for her production of Othello with Paul Robeson, was also a distinguished writer, lecturer and actress. It was in these several capacities that Webster was invited in 1961 by the United States Department of State to visit South Africa. Webster was to lecture on theatre, offer her one-woman recitals of Shakespeare and Shaw, and direct an “American classic” for the South African National Theatre Organization. In discussions with members of the State Department and the National Theatre Organization, the plays of several writers, including Williams, Miller, Wilder, Hellman and MacLeish, were considered but eventually eliminated for reasons of suitability, individual taste or because of recent productions in South Africa. Eventually, A Touch of the Poet was selected for production.
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Cima, Gibson Alessandro. "RESURRECTING SIZWE BANZI IS DEAD (1972–2008): JOHN KANI, WINSTON NTSHONA, ATHOL FUGARD, AND POSTAPARTHEID SOUTH AFRICA." Theatre Survey 50, no. 1 (April 22, 2009): 91–118. http://dx.doi.org/10.1017/s0040557409000088.

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On 30 June 2006 at the annual National Arts Festival in Grahamstown, South Africa, two giants of South African protest theatre, John Kani and Winston Ntshona, performed as the original cast of the landmark struggle drama Sizwe Banzi Is Dead (1972). The revival marked the first production of the play in over twenty-five years. After its brief stint at the National Arts Festival (30 June–5 July 2006), the play transferred to the Baxter Theatre in Cape Town (11 July–5 August) and then entertained a monthlong run at the State Theatre in Pretoria (17 August–17 September). After its turn at the State, the production stopped shortly at the Hilton College Theatre in KwaZulu Natal (19–23 September) before settling into an extended engagement at Johannesburg's Market Theatre (28 September to 22 October). In March 2007, the original cast revival of Sizwe traveled to the British National Theatre before finally ending its tour at the Brooklyn Academy of Music in April 2008.
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Rahner, C. "Community theatre and indigenous performance traditions: An introduction to Chicano theatre, with reference to parallel developments in South Africa." Literator 17, no. 3 (May 2, 1996): 61–76. http://dx.doi.org/10.4102/lit.v17i3.622.

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This article will focus on the theme of community and on the forms stemming from oral literature and musical tradition in Chicano theatre, while drawing comparisons with similar developments in South Africa. I will argue that the re-appropriation of traditional modes and their integration into stage performance replaced the formerly “Eurocentric definition of theatre” with a more indigenous specificity, a development that has been observed in South Africa as well (Hauptfleisch, 1988:40). We can thus speak of a certain divergence from standard contemporary Western traditions in both the Chicano and the black South African community theatre, a trend that is notable in both their themes and forms.
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Suzman, Janet. "Stage directions in South Africa: Post-apartheid theatre." Index on Censorship 43, no. 2 (June 2014): 158–63. http://dx.doi.org/10.1177/0306422014534578.

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Kruger, Loren. "Acting Africa." Theatre Research International 21, no. 2 (1996): 132–40. http://dx.doi.org/10.1017/s0307883300014711.

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I begin with two images of African actors. The first, from Asinamali by the South African playwright Mbongeni Ngema (1985; Plate 23), shows a group pose drawn directly from protest theatre—angry men in prison khaki, with fists clenched, bodies tensed in readiness and, one can assume, voices raised against the invisible but all too palpable forces of apartheid. The second, from the centenary celebrations of the American Board Mission in South Africa (1935; Plate 24), portrays the ‘smelling-out of a fraudulent umthakathi’ (which can be translated as diviner or trickster), which were followed, on this occasion, by other scenes portraying the civilizing influence of European settlers. While the first offers an image of African agency and modernity in the face of oppression, the second, with its apparently un-mediated reconstruction of pre-colonial ritual and, in its teleological juxtaposition of ‘tribal’ and ‘civilized’ custom, seems to respond to the quite different terms set by a long history of displays, along the lines of the Savage South Africa Show (1900), in which the authenticity of the Africans on stage was derived not from their agency but by their incorporation into the representation of colonial authority.
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Knittelfelder, Elisabeth. "The “Ordinary” Cruelty and the Theatre as Witness in Four South African Plays." Journal of Contemporary Drama in English 8, no. 1 (May 11, 2020): 160–76. http://dx.doi.org/10.1515/jcde-2020-0012.

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AbstractThis essay looks at how four contemporary South African plays use performance to render, address, and acknowledge personal and national trauma. By staging acts of cruelty that happen as “ordinary” experience, as perpetual pain, or as representation of life-in-crisis, these plays not only question and complement the national narrative by telling stories that have not found a stage or a listener before, but they also inform and speak to topical societal issues in South Africa such as that of apathy to violence and the question of complicity. Yael Farber and Lara Foot employ a distinctly South African theatre language that draws on theatrical concepts of the European avant-garde, especially those of Antonin Artaud, as well as on the tradition of oral storytelling and ritual to render cruelty as the “ordinary” and crisis as an ongoing condition in the sociohistorical context of apartheid and the apartheid-influenced post-1994 world. By excavating, tracing, and acknowledging “ordinary” cruelty as experienced personally and collectively, the plays explore revelations about the human condition, open up a discussion on the nature of memory or (collective) amnesia, on trauma, complicity, and the crucial role of the witness.
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Nako, Nontsasa. "On the record with Judge Jody Kollapen." South African Crime Quarterly, no. 66 (April 18, 2019): 53–56. http://dx.doi.org/10.17159/2413-3108/2018/v0n66a6242.

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With the revelations by Bosasa officials at the State Capture Enquiry, held in early 2019, laying bare the corrupt links between prisons, detention centres and border control, and high ranking political and government officials, the time is ripe to excavate the capitalist interests that fuel incarceration in this country. How did the prison industrial complex overtake the lofty principles that ushered in the South African democratic era? Judge Jody Kollapen is well-placed to speak to about the evolution of the South African prison from a colonial institute that served to criminalise and dominate 'natives', to its utility as instrument of state repression under apartheid, to its present manifestation in the democratic era. He has laboured at the coalface of apartheid crime and punishment through his work as an attorney in the Delmas Treason Trial, and for the Sharpeville Six, and also worked as a member of Lawyers for Human Rights, where he coordinated the 'Release Political Prisoners' programme, Importantly, Justice Kollapen had a ringside seat at the theatre of our transition from apartheid to democracy as he was part of the selection panel that chose the commissioners for the Truth and Reconciliation Commission (TRC). Many questions can be asked of the South African TRC including whether it was the best mechanism to deal with the past and whether it achieved reconciliation. What concerns us here is its impact on crime and punishment in the democratic era. If our transition was premised on restorative justice, then shouldn’t that be the guiding principle for the emerging democratic state? In line with this special edition’s focus on the impact of incarceration on the marginalized and vulnerable, Judge Kollapen shares some insights on how the prison has fared in democratic South Africa, and how imprisonment affects communities across the country. As an Acting Judge in the Constitutional Court, a practitioner with a long history of civic engagement, and someone who has thought and written about criminalization, human rights and prisons, Judge Kollapen helps us to think about what decolonization entails for prisons in South Africa.
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Dissertations / Theses on the topic "Theatre and state – South Africa"

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Hutchison, Yvette. ""Memory is a weapon" : the uses of history and myth in selected post-1960 Kenyan, Nigerian and South African plays." Thesis, Stellenbosch : Stellenbosch University, 1999. http://hdl.handle.net/10019.1/51338.

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Thesis (PhD)--Stellenbosch University, 1999.
ENGLISH ABSTRACT: In hierdie proefskrif word gekyk na die verwantskap tussen geskiedenis, mite, geheue en teater. Daar word ook gekyk na die mate waartoe historiese of mitiese toneelstukke gebruik kan word om die amptelike geheue en identiteite, soos deur bewindhebbers in post-koloniale Nigerie en Kenya geskep, terug kon wen of uit kon daag. Hierdie werke word dan vergelyk met die soort teater wat tydens die Apartheidbewind in Suid-Afrika geskep is, om verskille en ooreenkomste in die gebruik van historiese en mitiese gegewens te bekyk. Die slotsom is dat een van die belangrikste kenmerke van die teater in vandag se samelewing sy vermod is om alternatiewe historiese narratiewe te ontwikkel wat kan dien as teen-geheue ("counter-memory") vir die dominante narratief van amptelike geskiedenisse. Sodoende bevraagteken die teater dan ook 'n liniere en causale siening van die geskiedenis, maar interpreteer dit eerder as meervoudig en kompleks.
AFRIKAANSE OPSOMMING: This thesis considers the relationship between history, myth, memory and theatre. The study explores the extent to which historic or mythic plays were used to either reclaim or challenge the official memories and identities created by those in power in the postcolonial Kenyan and Nigerian context. These are then compared to the South African theatre created during Apartheid, exploring the similarities and differences in the South Africans use of historic or mythic referents. The conclusion reached is that one of the most powerful aspects of theatre in society is its ability to create alternate historic narratives that become a counter-memory to the dominant narrative of official histories. It also challenges seeing history as linear and causal, and makes it more plural and complex.
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Farrow, Heather Lynn Carleton University Dissertation Geography. "Local organizing and popular theatre: case studies from Namibia and South Africa." Ottawa, 1992.

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Copteros, Athina. "Workshop theatre in post-apartheid South Africa : a case study." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1007477.

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This is a qualitative study exploring the use of workshop theatre in post-apartheid South Africa, with the objective of making a contribution to the knowledge-base regarding its use in current times. Workshop theatre is changing in response to a new socio-political reality and emerging trends in theatre practice. The case study, of developing a play on Oystercatchers with a Grahamstown group of artists, revealed the difficulties and challenges of using workshop theatre in this dynamic context. Data collection included a focus group, observation, reflective discussion and in-depth interviews that were analysed in relation to available literature on workshop theatre in apartheid and post-apartheid South Africa. It is proposed that workshop theatre has continued relevance in post -apartheid South Africa. The process of creating workshop theatre with diverse artists has great potential to transform relationships, address issues of personal identity and to provide an underlying purpose to a workshop theatre -making context.
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Maserumule, MH. "Reflections on South Africa as developmental state." Journal of Public Administration, 2007. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001419.

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Abstract The article reflects on the progress the South African government is making in realising the imperatives of a developmental state. It examines contemporary engagements on the issue of a developmental state. At the outset, the article unpacks the theoretical antecedents of a developmental state to develop a framework for analysis. In the context of this framework, the article argues that a developmental state is premised on two dimensions, namely social and economic. These dimensions are used as a framework to understand how South Africa fares as a developmental state. In engaging with this question, the article makes an observation that, notwithstanding service delivery challenges in the country, the government is seemingly making significant strides in its attempts to realise the social imperatives of a developmental state. On the economic front, a similar deduction is difficult to make as debates in this regard are so polarised. The article recommends that research on Black Economic Empowerment and its impact in maximising citizen participation in the mainstream economy should be undertaken.
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Van, Heerden Johann. "Theatre in a new democracy : some major trends in South African theatre from 1994 to 2003." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/917.

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Giliana, Tefo Godfrey. "The profitability of commercial state-owned entities." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/15633.

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The importance of State-owned entities (SOEs) in a developing State has been argued for centuries. SOEs are perceived as the tool that the State can successfully use to implement its developmental agenda. In the Republic of South Africa, SOEs have been used to ensure universal access to electricity, water and logistical infrastructure to support industrial development, as well as basic service delivery. These entities have been expected to fund these initiatives from their own funds, which alleviated the need for commercial SOEs (also known as State-owned companies) to be profitable without continuous financial injections from the RSA government. Generally, commercial SOEs have been performing poorly financially. This research study aims to determine whether political influence might affect the profitability of these commercial SOEs. The poor financial performance plaguing the commercial SOEs hinders their ability to effectively contribute as a collective to the developmental agenda of the State, as espoused in the current strategic plan of the RSA in the form of the National Development Plan (NDP). Due to the poor financial performance and subsequent diversion of financial resources from other national priorities for their bail-out, commercial SOEs have been considered a liability rather than an asset to the RSA. To satisfy the primary and associated research objectives, qualitative primary and secondary research data have been collected. The primary data have been collected by using the semi-structured interview from the CFOs of commercial SOEs from various government departments – given their proximity to the financial performance and the drivers of this performance in commercial SOEs. CFOs are also part of the commercial SOEs senior-executive management of these entities. The general opinion of the participants and the literature review of the research study is that, indeed, political influence has had an adverse effect on the profitability of commercial SOEs, among others, as a consequence of the positioning of SOEs within the governance system of the RSA, the impact of the recruitment process for senior executives and the implications of an unfunded mandate. It is clear that in the RSA, commercial SOEs, and SOEs in general, will continue to play a pivotal role in the implementation of the developmental agendas of the State, as expressed in the NDP. With the RSA government expecting commercial SOEs to fund these activities from their own funds, it is critical that the State should be an enabler rather than a hindrance for commercial SOEs‟ profitability.
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Jaricha, Desmond Tichaona. "Land redistribution and state decentralisation in South Africa." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013120.

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South Africa is a new democracy that has had to deal with many historical remnants of apartheid. One of the main remnants has been land dispossession and massive inequalities along racial lines of access to land for agricultural purposes. In countering this, the post-apartheid state has pursued land redistribution programmes since the end of apartheid in 1994, as part of a broader land reform project. Simultaneously, post-apartheid South Africa has been marked by significant state restructuring notably a process of state de-centralisation including the positioning of municipalities as development agents. Amongst other goals, this is designed to democratise the state given the authoritarian and exclusive character of the apartheid state, and thereby to democratise development initiatives and programmes. Land redistribution and state decentralisation in South Africa are different political processes with their own specific dynamics. They have though become interlinked and intertwined but not necessarily in a coherent and integrated manner. Within broader global developments pertaining to state decentralisation and land redistribution, the thesis examines the complex relations between these two processes in South Africa. In particular, I analyse critically the decentralised character of the land redistribution programme in South Africa. In order to concretise and illustrate key themes and points, I discuss a particular land redistribution project called Masizakhe located in Makana Municipality in the Eastern Cape Province.
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Baker, Gavin R. "Negotiated dramaturgy - industrial theatre as communication in the organisation." Thesis, University of Zululand, 2001. http://hdl.handle.net/10530/810.

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Submitted to the Faculty of Arts in fulfillment of the requirements for the degree of Doctor of Philosophy (D.Phil) in the Department of Communication Science at the University of Zululand, 2001.
This study investigates Industrial Theatre as an effective form of corporate communication against the backdrop of South Africa's unique situation that distinguishes it from other countries in the world. As the post-apartheid South African society is concerned with development and transformation of its workforce, particularly among those who have previously been disadvantaged, communication in organisations has become vitally important in achieving these goals as well as in increasing productivity. This study identifies four specific problems that relate to the effectiveness of communication within an organisation, namely the historical problem, the literacy problem, the credibility problem and the problem concerning the traditional adversarial relationship. Problems concerning the corporate media and the definition of the term "Industrial Theatre" are also treated. In this study, Industrial Theatre is equated with a form of corporate communication and thus has a public relations function within an organisation. It therefore needs to ground itself firmly within public relations theory and practice. It must be a deliberate, planned and sustained effort that establishes and maintains mutual understanding between the organisation and its internal and external stakeholders. The uniqueness of the South African environment necessitates a communication model that creates an enabling environment for effective corporate communication. The Mersham graphic communication model for development as used in this study achieves this by contextualising both the communicators and the recipients firmly within their own sociocultural and autobiographical circumstances. The Mersham model is ideally suited to the Industrial Theatre context, as it also advocates that communicators and recipients should exchange roles, thereby enabling effective communication on a continuous basis. The current trends in corporate communication encourage transparency and "ownership". All the stakeholders of an organisation are encouraged to interact and to participate in the management of their organisation, hence achieving a sense of "ownership". The key to this entire process is negotiation. As this study contends that any theatrical process used as a communication tool should have negotiation as its main constituent, it was necessary to create a dramaturgy that incorporates negotiation into all its facets in order to serve the purposes of the thesis. The Negotiated Dramaturgy thus created has three distinct parts. The first consists of the pre-production forums in which the stakeholders discuss issues that create objectives for the dramaturgy to achieve. The second section contains the dramaturgy that enacts the objectives through story lines created by the stakeholders and analyses the results through the in-role forums. The third section evaluates the effectiveness of the process. This approach to Industrial Theatre ensures that all stakeholders are involved in the entire process from beginning to end. They, therefore, have total "ownership" of the process, which is characterised by transparency.
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Marneweck, Aja. "Maladamatjuate and the theatre of difference : staging the female body in South Africa." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7983.

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Includes bibliographical references (p. 90-92).
In this paper, I investigate contemporary alternative staging strategies that critically and creatively explore representations of women in South African theatre. I interrogate representations of the female body of' difference' and the theatrical interpretation of complex identity in South Africa. Imperative questions are raised around the renegotiation of perceptions of division and stereotype (especially regarding women) in performance in South Africa. I raise crucial questions regarding the empowerment of representations of difference on the stage. Theatre of Difference requires representations that are as critically interrogatory of the socio-political circumstances of female identity as they are intimately concerned with the personal processes of the psyches of individual women.
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Manamela-Mogane, Owen. "Performing Masculinities: Stereotypes and representations of the male body in contemporary South Africa." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30532.

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In this account of my practise as research into the crisis of masculinity among black males in South Africa, I am concerned with how men oppress and terrorize women and retard the recovery of South Africa from apartheid through crime, violence and transgressive actions. Following Sirkin (1984) in this paper I term this behaviour ‘hypermasculine’ and attribute it to the unfathomable violence inflicted on the black male body and psyche during apartheid while Danieli, (2007) and Goodman’s (2013) ‘transgenerational trauma’ accounts for why the condition persists. Butler’s idea of gender as a ‘performance’ theoretically grounds the hypermasculine body as a ‘mask’ behind which lies either a true and better male self or ‘shadow’– Seriti – or no self at all. Following this premise, I give an account of the creative process and performance of two PaR pieces (Seriti and Metsi) in which I unpack both the process and performances in which my own black male body was the medium for the research. I sketch my objectives of physically inhabiting the hypermasculine ‘performative’ stereotypes familiar to me from childhood township memories as well as in township theatre in order to define and ‘know’ them. Through exercises in weight, tempo and repetition I hoped to re-inscribe the misshapen figure of the black male. I discuss how working with an older black actor in Seriti yielded valuable insights into cultural male hierarchies, while the enactment of hypermasculinity took its toll necessitating mediation through traditional ritual. I recount how, with the need for healing now evoked in my body, and with an obsession in the shape of water, (Metsi) in the second research project I allowed the memory of the positive feminine presences in my past to inflect the male body with a different weight and shape in a disruption of the familiar and a glimpse of the potential of a new shape or self.
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Books on the topic "Theatre and state – South Africa"

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The black theatre movement in the United States and in South Africa. Valencia: Universitat de València, 2008.

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Orkin, Martin. Drama and the South African state. Manchester, UK: Manchester University Press, 1991.

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Ghersi, Stefano. South Africa, the 51st state. Randburg: Fastdraft, 1989.

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Theatre and cultural struggle in South Africa. London: Zed Books, 1985.

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Cottrell, Robert C. South Africa: A state of apartheid. Philadelphia: Chelsea House, 2005.

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Shakespeare in South Africa: Stage productions during the apartheid era. New York: P. Lang, 2000.

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Manufacturing apartheid: State corporations in South Africa. New Haven: Yale University Press, 1994.

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Academy of Science of South Africa, ed. The state of science in South Africa. Pretoria: Academy of Science of South Africa, 2009.

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Nyaba, Peter Adwok. South Sudan: The state we aspire to. Cape Town, South Africa: The Centre for Advanced Studies of African Society (CASAS), 2011.

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Harpur, Colin. Peace and transport in South Africa. Claremont, Cape, South Africa: Mallard Publishers, 1995.

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Book chapters on the topic "Theatre and state – South Africa"

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Hutchison, Yvette. "Post-1990s Verbatim Theatre in South Africa: Exploring an African Concept of “Truth”." In Dramaturgy of the Real on the World Stage, 61–71. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230251311_5.

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Muiu, Mueni wa, and Guy Martin. "South Africa." In A New Paradigm of the African State, 163–89. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230618312_10.

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Muiu, Mueni wa, and Guy Martin. "South Africa." In A New Paradigm of the African State, 139–61. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230618312_9.

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Brewer, John D., Adrian Guelke, Ian Hume, Edward Moxon-Browne, and Rick Wilford. "South Africa." In The Police, Public Order and the State, 157–88. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24647-2_7.

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Nölke, Andreas, Tobias ten Brink, Christian May, and Simone Claar. "South Africa." In State-permeated Capitalism in Large Emerging Economies, 145–74. 1st Edition. | New York : Routledge, 2019. | Series: Ripe series in global political economy: Routledge, 2019. http://dx.doi.org/10.4324/9780429261145-6.

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Roberts, Debra, and Sean O’Donoghue. "CITY VIEW: Durban, South Africa." In State of the World, 337–42. Washington, DC: Island Press/Center for Resource Economics, 2016. http://dx.doi.org/10.5822/978-1-61091-756-8_28.

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Durden, Emma. "Participatory HIV/AIDS Theatre in South Africa." In Acting on HIV, 1–14. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-594-9_1.

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Maloka, Victoria. "The Postapartheid State in South Africa." In Reconstituting the State in Africa, 233–75. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230606944_8.

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Hadland, Adrian. "Media-State Relations in South Africa." In Media-State Relations in Emerging Democracies, 73–112. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137493491_4.

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Mitchell, Mark, and Dave Russell. "Political Impasse in South Africa: State Capacities and Crisis Management." In Can South Africa Survive?, 312–35. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19661-6_14.

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Conference papers on the topic "Theatre and state – South Africa"

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Hauger, Werner K., and Martin S. Olivier. "The state of database forensic research." In 2015 Information Security for South Africa (ISSA). IEEE, 2015. http://dx.doi.org/10.1109/issa.2015.7335071.

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Jordaan, Jason, and Karen Bradshaw. "The current state of digital forensic practitioners in South Africa." In 2015 Information Security for South Africa (ISSA). IEEE, 2015. http://dx.doi.org/10.1109/issa.2015.7335068.

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Mouton, Francois, Alastair Nottingham, Louise Leenen, and H. S. Venter. "Underlying finite state machine for the social engineering attack detection model." In 2017 Information Security for South Africa (ISSA). IEEE, 2017. http://dx.doi.org/10.1109/issa.2017.8251781.

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"Determination of Residues Levels of Seven Pesticides in Tomatoes Samples Taken from Three Markets in Khartoum State, Sudan." In Nov. 27-28, 2017 South Africa. EARES, 2017. http://dx.doi.org/10.17758/eares.eap517217.

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Swart, Ignus, Barry Irwin, and Marthie Grobler. "Towards a platform to visualize the state of South Africa's information security." In 2014 Information Security for South Africa (ISSA). IEEE, 2014. http://dx.doi.org/10.1109/issa.2014.6950511.

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Watney, Murdoch. "State-on-nationals' electronic communication surveillance in South Africa: A murky legal landscape to navigate?" In 2015 Information Security for South Africa (ISSA). IEEE, 2015. http://dx.doi.org/10.1109/issa.2015.7335047.

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"An Investigation into the State of Environmental Education and the use of Technology in Environmental Education in Gauteng, South Africa." In Nov. 18-19, 2019 Johannesburg (South Africa). Eminent Association of Pioneers, 2019. http://dx.doi.org/10.17758/eares8.eap1119442.

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"Effect of Reality Therapy in Reducing Examination Phobia Among Students of Fce(T) Bichi, Kano State." In Nov. 19-20 2018 Cape Town (South Africa). Eminent Association of Pioneers, 2018. http://dx.doi.org/10.17758/eares4.eap1118408.

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"The Influence of Women in the New Testament on Christian Women in Pentecostal Churches Towards Evangelism in Kano State." In Nov. 19-20 2018 Cape Town (South Africa). Eminent Association of Pioneers, 2018. http://dx.doi.org/10.17758/eares4.eap1118407.

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"Noise Awareness and Noise Prevention as Strategies for Curtailing the Risk of Noise Induced Hearing Loss Among College Students in Osun State, Nigeria." In Nov. 19-20 2018 Cape Town (South Africa). Eminent Association of Pioneers, 2018. http://dx.doi.org/10.17758/eares4.eap1118454.

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Reports on the topic "Theatre and state – South Africa"

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Seekings, Jeremy, and Elena Moore. Kin, Market and State in the Provision of Care in South Africa (WP 327, 2013). University of Cape Town, 2013. http://dx.doi.org/10.35648/20.500.12413/11781/ii073.

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The State of Green Technologies in South Africa. Academy of Science of South Africa (ASSAf), 2014. http://dx.doi.org/10.17159/assaf/0025.

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The State of Biosafety and Biosecurity in South Africa. Academy of Science of South Africa (ASSAf), 2015. http://dx.doi.org/10.17159/assaf/0020.

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The state of research, development and innovation of electrical energy efficiency technologies in South Africa. Academy of Science of South Africa (ASSAf), 2018. http://dx.doi.org/10.17159/assaf.2017/0017.

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CONSENSUS STUDY ON THE STATE OF THE HUMANITIES IN SOUTH AFRICA: STATUS, PROSPECTS AND STRATEGIES. Academy of Science of South Africa, 2011. http://dx.doi.org/10.17159/assaf.2016/0025.

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Abstract:
The purpose of this study was to provide evidence-based advice on the status and future role of the Humanities in South Africa to government and other stakeholders (such as science councils, the department of education, universities) as a contribution towards improving the human condition. Everywhere, the Humanities is judged by many to be in “crisis.” The reasons for this, in South Africa, include the governmental emphasis on science and technology; the political emphasis on the economically-grounded idea of “developmentalism;” the shift of values among youth (and their parents) towards practical employment and financial gain; and the argument that the challenges faced by our society are so urgent and immediate that the reflective and critical modes of thinking favoured in the Humanities seem to be unaffordable luxuries. The Report provides invaluable detail about the challenges and opportunities associated with tapping the many pools of excellence that exist in the country. It should be used as a guideline for policymakers to do something concrete to improve the circumstances faced by the Humanities, not only in South Africa but also around the world. Amongst other recommendations, the Report calls for the establishment of a Council for the Humanities to advise government on how to improve the status and standing of the Humanities in South Africa. It also calls for initiation, through the leadership of the Department of Basic Education, considered measures to boost knowledge of and positive choices for the Humanities throughout the twelve years of schooling, including progressive ways of privileging the Arts, History and Languages in the school curriculum through Grade 12.
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First biennial report to cabinet on the state of climate change science technology in South Africa. Academy of Science of South Africa (ASSAf), 2017. http://dx.doi.org/10.17159/assaf.2016/0015.

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