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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Roy, L. Somi. "A Window on the World: A Remote Corner of Asia Puts on a Play about 9/11." TDR/The Drama Review 48, no. 2 (June 2004): 68–75. http://dx.doi.org/10.1162/105420404323063409.

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This installment of Critical Acts tours the apartment of Marvin Carlson, where Helen Paris, Leslie Hill, and Lois Weaver offer On the Scent, a piece of installation-theatre of smell-filled rooms; a sumaang leela performance about the events of 9/11 that toured the isolated state of Manipur, India, the home of one of the Trade Tower victims who worked at Windows on the World; and iMumbo Jumbo, a production by Third World Bunfight, a South African theatre troupe.

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12

Ojoniyi, Olabode Wale. "The ghosts that will not be laid to rest: a critical reading of “Abantu Stand”." International Journal of Pedagogy, Innovation and New Technologies 5, no. 2 (December 30, 2018): 51–56. http://dx.doi.org/10.5604/01.3001.0012.9675.

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This paper centres on an existential consciousness reading of the production of “Abantu Stand” by Rhodes University Theatre. “Abantu Stand” is a product of pieces of workshop sketches on current social, economic and political conversations in South Africa. From my participation in the back stage conversations of the artists and the production crew towards the final making of the production, to the discussions with the audience after each performance, I realise that, of a truth, as the closing song of the performance re-echoes, “It is not yet uhuru” for the South Africans, particularly, the people on the peripheral of the society!” In “Abantu Stand,” in spite of her post-apartheid status, South Africa appears as a volatile contested space. Of course, in reality, in many areas, 70 to 85% of lands remain in the hands of the settlers. There are towns and settlements outside of towns – for till now, majority of the blacks live in shanties outside the main towns. Inequality, mutual suspicion, mismanagement and oppression operate at different levels of the society – from race to race, gender to gender and tribe to tribe. There is the challenge of gender/sexual categorisation and the tension of “coming out” in relation to the residual resisting traditional culture of heterosexuals. The sketches in the performance are woven around these contentious issues to give room for free conversations. The desire is to provoke a revolutionary change. However, one thing is evident: South Africa, with the relics of apartheid, is still a state in transition.

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13

SCHMIDT, BRYAN. "Fault Lines, Racial and Aesthetic: The National Arts Festival at Grahamstown." Theatre Research International 43, no. 3 (October 2018): 318–37. http://dx.doi.org/10.1017/s0307883318000561.

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This article asks how theatre shapes civic space by examining the emergence of racial divides in the city of Grahamstown, South Africa, during the annual National Arts Festival (NAF). I track how decision making by festival organizers has relied on economic research and implicit artistic preferences that have resulted in the steady exclusion of artists from local townships. I argue that the presence of the NAF in Grahamstown creates fault lines that are not physical, but aesthetic, in nature, creating invisible boundaries that reward stage performances at the expense of street performances. I track a history of street performance at the NAF, with particular attention to its local mime tradition, to demonstrate how this axis of festivity was integral to developing the NAF's cultural cachet, but was systematically managed, policed or appropriated to fit organizers’ image for Grahamstown at festival time. This work troubles aspirational narratives of creative and cultural industries that South Africa and other African countries have come to rely upon as inclusive and sustainable routes of economic development.

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14

Grundy, Kenneth W. "Quasi-State Censorship in South Africa: The Performing Arts Councils and Politicized Theater." Journal of Arts Management, Law, and Society 24, no. 3 (September 1994): 241–57. http://dx.doi.org/10.1080/10632921.1994.9941771.

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15

Kruger, Loren. "Theatre and Society in South Africa: Reflections in a Fractured Mirror, and: Decolonizing the Stage: Theatrical Syncretism and Post-Colonial Drama (review)." Research in African Literatures 30, no. 4 (1999): 212–15. http://dx.doi.org/10.1353/ral.2005.0043.

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16

Perloff, Marjorie. "Presidential Address 2006: It Must Change." PMLA/Publications of the Modern Language Association of America 122, no. 3 (May 2007): 652–62. http://dx.doi.org/10.1632/pmla.2007.122.3.652.

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This year marks the centennial of Samuel Beckett's birth, and the celebrations around the world have been a wonder to behold. From Buenos Aires to Tokyo, from Rio de Janeiro to Sofia, from South Africa (where Beckett did not permit his plays to be performed until apartheid was ended) to New Zealand, from Florida State University, in Tallahassee, to the University of Reading, from the Barbican Theatre, in London, to the Pompidou Center, in Paris, from Hamburg and Kassel and Zurich to Aix-en-Provence and Lille, from Saint Petersburg to Madrid to Tel Aviv, and of course most notably in Dublin, 2006 has been Beckett's year. Most of the festivals have included not only performances of the plays but also lectures, symposia, readings, art exhibitions, and manuscript displays. Paris Beckett 2006, for example, cosponsored by the French government and New York University's Center for French Civilization and Culture, has featured productions of Beckett's entire dramatic oeuvre, mounted in theaters large and small all over Paris, and lectures by such major figures as the novelist-theorists Philippe Sollers and Hélène Cixous, the playwrights Fernando Arrabal and Israel Horovitz, and the philosopher Alain Badiou. To round things out, in 2007 the Pompidou Center will host a major exhibition of and on Beckett's work.

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17

Steadman, Ian. "Black theatre in South Africa." Wasafiri 9, no. 19 (March 1994): 26–30. http://dx.doi.org/10.1080/02690059408574341.

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18

Graver, David. "Theatre in the New South Africa." Performing Arts Journal 17, no. 1 (January 1995): 103. http://dx.doi.org/10.2307/3245703.

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19

Steadman, Ian. "Towards popular theatre in South Africa." Journal of Southern African Studies 16, no. 2 (June 1990): 208–28. http://dx.doi.org/10.1080/03057079008708231.

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20

MDA, ZAKES. "Theatre for Children in South Africa." Matatu 17-18, no. 1 (April 26, 1997): 137–44. http://dx.doi.org/10.1163/18757421-90000221.

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21

Vandenbroucke, Russell. "Violence Onstage and Off: Drama and Society in Recent American Plays." New Theatre Quarterly 32, no. 2 (April 13, 2016): 107–20. http://dx.doi.org/10.1017/s0266464x16000026.

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Direct and bloody violence has a long history on stage. In recent years, a different mode of violence can be distinguished in the work of prominent American playwrights – less direct than indirect, more covert than overt, and likely to affect a group rather than individuals. In this article Russell Vandenbroucke applies concepts from Norwegian sociologist and Peace Studies scholar Johan Galtung to examine structural and cultural violence in Suzan-Lori Parks's Father Comes Home from the Wars (Parts 1, 2, & 3) and traces similar representations of violence in Anna Deavere Smith's Fires in the Mirror, Tony Kushner's Angels in America, Lynn Nottage's Ruined, Ayad Aktar's Disgraced, The Laramie Project by Moisés Kauffman and the Tectonic Theater Project, and Tim Robbins's adaptation of Dead Man Walking by Sr Helen Prejean. These writers have in common the status of traditional outsiders – black, female, gay, Muslim – and this informs their engagement in the social and political vitality of the stage. The shift in focus of these plays from direct violence echoes observations in Steven Pinker's recent The Better Angels of Our Nature: Why Violence Has Declined. Russell Vandenbroucke is Professor of Theatre Arts at the University of Louisville and Director of its Peace, Justice, and Conflict Transformation programme. He previously served as Artistic Director of Chicago's Northlight Theatre. His publications include Truths the Hand Can Touch: the Theatre of Athol Fugard and numerous articles on South African theatre.

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22

McBurney, Blaine, and Robert M. Kavanaugh. "Theatre and Cultural Struggle in South Africa." Contemporary Sociology 16, no. 3 (May 1987): 391. http://dx.doi.org/10.2307/2070333.

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23

Hauptfleisch, Temple. "South Africa: a laboratory for theatre research." Communicatio 11, no. 2 (January 1985): 38–43. http://dx.doi.org/10.1080/02500168508537671.

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24

Loots, Lliane. "Re-remembering protest theatre in South Africa." Critical Arts 11, no. 1-2 (January 1997): 142–52. http://dx.doi.org/10.1080/02560049785310111.

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25

Gray, Stephen. "Notes on South Africa and Australian Theatre." South African Theatre Journal 12, no. 1-2 (January 1998): 172–77. http://dx.doi.org/10.1080/10137548.1998.9687671.

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26

Voss, T. "South Africa in Shakespeare’s “wide and universal theatre”." Shakespeare in Southern Africa 27, no. 1 (September 22, 2015): 61. http://dx.doi.org/10.4314/sisa.v27i1.8.

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27

Hartmann, Dieter, and Bernadette Sunjka. "Private theatre utilisation in South Africa: A case study." South African Medical Journal 103, no. 5 (March 13, 2013): 285. http://dx.doi.org/10.7196/samj.6460.

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28

Larlham, Peter. "Theatre in Transition: The Cultural Struggle in South Africa." TDR (1988-) 35, no. 1 (1991): 200. http://dx.doi.org/10.2307/1146121.

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29

Hutchison, Yvette. "Articles published in South Africa on Theatre: 1990–1991." South African Theatre Journal 7, no. 2 (January 1993): 140–44. http://dx.doi.org/10.1080/10137548.1993.9688100.

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30

Dalrymple, Lynn. "RESEARCHING DRAMA AND THEATRE IN EDUCATION IN SOUTH AFRICA." South African Theatre Journal 9, no. 2 (January 1995): 61–82. http://dx.doi.org/10.1080/10137548.1995.9688161.

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31

Meersman, Brent. "Democracy, Capitalism and Theatre in the New South Africa." South African Theatre Journal 21, no. 1 (January 2007): 292–306. http://dx.doi.org/10.1080/10137548.2007.9687868.

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32

Burns, Hilary. "The Market Theatre of Johannesburg in the New South Africa." New Theatre Quarterly 18, no. 4 (November 2002): 359–74. http://dx.doi.org/10.1017/s0266464x02000477.

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The Market Theatre of Johannesburg opened in 1976, the year of the Soweto Uprising – the beginning of the end for the oppressive apartheid regime. Founded by Barney Simon, Mannie Manim, and a group of white actors, the theatre's policy, in line with the advice to white liberals from the Black Consciousness Movement, was to raise the awareness of its mainly white audiences about the oppression of apartheid and their own social, political, and economic privileges. The theatre went on through the late 'seventies and 'eighties to attract international acclaim for productions developed in collaboration with black artists that reflected the struggle against the incumbent regime, including such classics as The Island, Sizwe Bansi is Dead, and Woza Albert! How has the Market fared with the emergence of the new South Africa in the 'nineties? Has it built on the past? Has it reflected the changes? What is happening at the theatre today? Actress, writer, and director Hilary Burns went to Johannesburg in November 2000 to find out. She worked in various departments of the theatre, attended productions, and interviewed theatre artists and members of the audience. This article will form part of her book, The Cultural Precinct, inspired by this experience to explore how the theatres born in the protest era have responded to the challenges of the new society.

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33

Wittenberg, Hermann. "Alan Paton's writing for the stage: towards a non-racial South African theatre." South African Theatre Journal 21, no. 1 (January 2007): 307–27. http://dx.doi.org/10.1080/10137548.2007.9687869.

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34

Alessandro Cima, Gibson. "Loren Kruger, A Century of South African Theatre." Modern Drama 64, no. 1 (March 2021): 117–19. http://dx.doi.org/10.3138/md.64.1.br3.

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abstract: A Century of South African Theatre revises and updates Loren Kruger’s seminal book, The Drama of South Africa. Kruger rejects essentializing categories such as African or European, arguing that South African theatre mixes local and transnational forms. The book provides a useful survey of South Africa’s past century of theatre.

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35

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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36

Sirayi, Mzo. "In search of pre-colonial African theatre in South Africa." South African Journal of African Languages 23, no. 1 (January 2003): 46–59. http://dx.doi.org/10.1080/02572117.2003.10587206.

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37

Wakashe, T. Philemon. ""Pula": An Example of Black Protest Theatre in South Africa." Drama Review: TDR 30, no. 4 (1986): 36. http://dx.doi.org/10.2307/1145780.

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38

Angove, Coleen. "Alternative Theatre: Reflecting a Multi-racial South African Society?" Theatre Research International 17, no. 1 (1992): 39–45. http://dx.doi.org/10.1017/s0307883300015595.

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When Barney Simon's play Cincinatti was presented at the Market Theatre in 1979, it epitomized a watershed event in the development of theatre in South Africa, anticipating a new tend towards a tradition of a multi-racial theatre. In 1965 legislation had forced racial segregation in the theatre. Pleas for the official desegregation of races in the theatre had finally been successful in 1977 and Cincinatti, sporting one of the first multi-racial casts, was symbolic of a reaching-out amongst different racial, cultural and lingual groups in a highly polarized South African society. Cincinatti was chosen by Hauptfleisch and Steadman to represent Alternative theatre in their anthology (South African Theatre, Four Plays and an Introduction, 1984), thereby acknowledging a new theatrical tradition on the South African theatre scene.

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39

Morris, Gay. "Reconsidering Theatre-Making in South Africa: A Study of Theatre in Education in Cape Schools." Theatre Research International 27, no. 3 (October 2002): 289–305. http://dx.doi.org/10.1017/s0307883302000354.

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The task of Theatre in Education (TIE) performers is examined in relation to what I have witnessed in TIE programmes in South Africa, found in reports written by students and ideas proposed by theatre theorists. The four contextual frames, which John O'Toole maintains are at work in TIE (namely neighbourhood, venue, audience availability and the world of the play), provide a workable configuration through which to examine the effects of each of these on performance. The interaction between the performers, the performance site and the audience in TIE promises the possibility of a more flexible approach to theatre. Creative opportunities arise that should be utilized, not only in TIE, by a variety of theatre-makers in South Africa.

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40

Heijes, Coen, Xenia Georgopoulou, and Nektarios-Georgios Konstantinidis. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 8, no. 23 (November 30, 2011): 133–53. http://dx.doi.org/10.2478/v10224-011-0010-9.

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The Tempest. Dir. Janice Honeyman. The Baxter Theatre Centre (Cape Town, South Africa) and the Royal Shakespeare Company (Stratford-upon- Avon, United Kingdom). As You Like It. Dir. Damianos Constantinidis. “Angelus Novus” Theatre Group, “Vafeio” Theatre. Queen Lear. Dir. Kostis Kapelonis. “Delos G8” Theatre Group, “Delos” Theatre. Hamlet Committed Suicide. Dir. Stella Mari. Street theatre, “Minus [two]” Theatre Group, Thission pedestrian zone (Apostolou Pavlou & Heracleidon). The Documentary. Dir. Sergios Gakas. “Ex Animo” Theatre Group, “Altera Pars” Theatre. Othello. Dir. Yorgos Kimoulis and Konstantinos Markoulakis. Badminton Theatre, Athens, Greece.

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41

Klotz, Audie. "South Africa as an Immigration State." Politikon 39, no. 2 (August 2012): 189–208. http://dx.doi.org/10.1080/02589346.2012.683939.

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42

Lund, Frances. "State social benefits in South Africa." International Social Security Review 46, no. 1 (January 1993): 5–25. http://dx.doi.org/10.1111/j.1468-246x.1993.tb00358.x.

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43

Alence, Rod, and Anne Pitcher. "Resisting State Capture in South Africa." Journal of Democracy 30, no. 4 (2019): 5–19. http://dx.doi.org/10.1353/jod.2019.0065.

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44

Bester, Deretha, and Bojan Dobovšek. "State capture: Case of South Africa." Nauka, bezbednost, policija 26, no. 1 (2021): 73–87. http://dx.doi.org/10.5937/nabepo26-32346.

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Abstract:

"Grand corruption" and "state capture" are two intertwined concepts of corruption that have become systemic and institutionalized in many transitional countries around the world. "State capture" can simply be defined as "the payment of bribes at high levels of government in order to extract or plunder significant amounts of money from the state". The following paper will argue that when state capture occurs in transitional countries, it runs the risk of becoming socially embedded and institutionalized, which in turn makes it difficult to maintain the principles of democracy and threatens the overall stability of a country in transition. South Africa makes for a useful case study because it clearly represents how corruption in the form of state capture has infiltrated the political landscape of a country in transition, thereby rendering all state institutions redundant and threatening the principles of democracy. The paper will research what the dangers of state capture means for the countries in transition with the aim of proposing recommendations of minimizing state capture in order to reduce the negative consequences for security, peace and democracy. One corruption scandal that occurred in South Africa will be described which became known as "state capture". The paper was prepared based on the analysis of documents, academic and media articles that focus on state capture and the corruption in transitional countries. The paper will conclude that governmental corruption has become socially embedded in the "logics" of negotiation and interaction, thereby indicating that it has become institutionalized and culturally embedded within South Africa.

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45

Krueger, Anton. "Theatre in South Africa — ‘an endangered species’: interview with Anthony Akerman." Scrutiny2 8, no. 2 (January 2003): 60–65. http://dx.doi.org/10.1080/18125440308566006.

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46

Hutchison, Yvette. "Articles published in South Africa on Theatre and Drama in 1993." South African Theatre Journal 9, no. 1 (January 1995): 111–12. http://dx.doi.org/10.1080/10137548.1995.9688146.

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47

Hutchison, Yvette. "Articles published in South Africa on Theatre and Drama in 1994." South African Theatre Journal 10, no. 1 (January 1996): 113–14. http://dx.doi.org/10.1080/10137548.1996.9687655.

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48

von Brisinski, Marek Spitczok. "Rethinking Community Theatre: Performing arts communities in post-apartheid South Africa." South African Theatre Journal 17, no. 1 (January 2003): 114–28. http://dx.doi.org/10.1080/10137548.2003.9687765.

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Marneweck, Aja. "Visual theatre moves Out the Box: Developing puppetry in South Africa." South African Theatre Journal 20, no. 1 (January 2006): 290–95. http://dx.doi.org/10.1080/10137548.2006.9687841.

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50

Hutchison, Yvette. "New territories: theatre, drama, and performance in post-apartheid South Africa." South African Theatre Journal 28, no. 3 (September 2, 2015): 268–71. http://dx.doi.org/10.1080/10137548.2016.1218202.

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