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Academic literature on the topic 'Tswana (South Africa) - Drama - History and criticism'
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Dissertations / Theses on the topic "Tswana (South Africa) - Drama - History and criticism"
1
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.<br>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.<br>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.
2
Munyangane, Nditsheni Norman. "Tsenguluso ya u tambudzwa ha vhanna nga vhafumakadzi kha dirama dza Mahamba, Netshirando na Muyai na Netshivhuyu." Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1255.
Full textAbstract:
Thesis (MA. (African Languages)) --University of Limpopo, 2014<br>Ṱhoḓisiso iyi yo sengulusa u tambudzwa ha vhanna nga vhafumakadzi kha ḓirama dza Mahamba (1989), Ṋetshiranḓo na Munyai (2007) na Ṋetshivhuyu (1989). U tambudzwa ha vhanna nga vhafumakadzi hu khou bvelela fhedzi a hu dzhielwi nṱha. Muvhuso na Madzangano a si a Muvhuso a simesa u amba nga ha u tambudzwa ha vhana na vhafumakadzi ngeno vha sa iti zwo linganaho kha u lwa na u tambudzwa ha vhanna nga vhafumakadzi.
3
Haxton, Robert Peter. "Refusal and rupture as a postdramatic revolt : an analysis of selected South African contemporary devised performances with particular focus on works by First Physical Theatre Company and the Rhodes University Drama Department." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015671.
Full textAbstract:
This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.
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Madja, Banhloile Oletta. "Conflict in S.K. Matseke's drama, Mmalonya." Thesis, 2014. http://hdl.handle.net/10210/9789.
Full textAbstract:
M.A. (African Languages)<br>CHAPTER 1: INTRODUCTION The main aim of this study is to focus on conflict as a literary technique in general, and in particular on Matseke's drama, "Mmalonya". In this chapter the following observations with regard to Setswana drama have been made, viz. that succession has been a fertile ground for Setswana dramatists; that conflict has been treated in a somewhat general manner by literary critics and also that there are very few critical works written or published on this aspect in Setswana drama. CHAPTER 2: DEFINITIONS OF CONFLICT This chapter commences with some theoretical perspectives on conflict in general. These are followed by a detailed discussion of what conflict is, its nature and its relationship with other aspects of drama such as, actiorr, dialogue and characterization. CHAPTER 3: CONFLICT IN MMALONYA As was the case in chapter 2, this chapter also commences with an exposition of the nature of its principal subject viz. "Conflict in MmaLonya". This is followed by a discussion and a literary evaluation of the types of conflict in Matseke's play. It is observed that the evaluation of Matseke's drama in this regard revealed that this element constitutes the best area in his literary...
5
Mataboge, Motlatsi Helen. "Se se jeleng rre : molebo wa kanedi." Diss., 2001. http://hdl.handle.net/2263/22888.
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Herrington, Neville John. "The English language television single play in South Africa : a threatened genre, 1976-1991." Thesis, 1993. http://hdl.handle.net/10413/8747.
Full textAbstract:
The thesis takes the form of an investigation into the various causes leading to
the demise of the English language television single play in South Africa. It does
not position the genre within any particular theoretical framework, but argues
within the context of a liberal/critical discourse that the single play owes its
development and significance to the contribution of its many writers, as well as to
the creative input of the various producers, directors, from within and outside the
SABC. Furthermore, it evaluates the genre within the bureaucracy of the SABC
and the input of the various drama managers, among others, whose decisions
have affected the position of the single play.
The single play is seen as a development of drama having evolved from the stage
play, though moving progressively towards the production values of film.
Research will show that in the South African context, the creative practitioners of
the single play and technology have intersected with style, reflecting the dominant
form of naturalism, mainly evidenced during the early period when many single
plays were produced in the studios of Auckland Park. Within a wider sociopolitical
context, the single play has been evaluated as a negotiation among
writers, censorship, technology, naturalism and bureaucracy.
The investigation will show that the major cause for its demise was the SABC's
increasing commercialisation of TV -1, with the result that programmes on this
channel were evaluated in terms of their ability to deliver large audiences to the
advertisers. This placed the single play in competition for transmission space with
the more popular drama series and serials. Furthermore, the business principle
of cost-effectiveness applied to the single play made it more expensive to produce
than series and serials.
The author's own practical involvement in the production of video and television
programmes, including drama, together with primary source information gleaned
from some forty interviews with practitioners and those whose decisions impacted
on the genre, have been added to the body of the research.<br>Thesis (Ph.D.)-University of Natal, Durban, 1993.
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Munyai, Vhengani. "Vhugwalabi kha matambwa a vho Milubi a "Madombini a ngoho" na "Ndi mutodzi muni"." Diss., 2016. http://hdl.handle.net/11602/385.
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Thela, Bongani Clearance. "Examining morality and corruption in South African post apartheid contemporary drama : a case of three dramas." Thesis, 2018. http://hdl.handle.net/10386/2408.
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Thesis (M.A. (English Studies)) --University of Limpopo, 2018<br>The purpose of this study was to examine South Africa’s Post-Apartheid contemporary drama. Three dramas were used in order to examine three primary themes namely morality, corruption and class - the selected plays were John Kani’s Nothing but the Truth, Zakes Mda’s Our Lady of Benoni and Mike van Graan’s Some Mother’s Sons. The ideology carried out in this study was that there is a possible reinvention of Apartheid issues in Post-Apartheid South African drama, exchanging themes of protest and race for morality and corruption, while reflecting real events in the works of playwrights. Also, the study aimed at finding out whether there are connections between class issues and morality as presented in the selected plays. The study found that there is indeed a reinvention of Apartheid issues in Post-Apartheid South Africa, and that there are connections between class issues and morality, including corruption. Lastly, the study concluded that the current South Africa requires a serious intervention regarding moral regeneration as reflected in the selected plays.
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McMurtry, Mervyn Eric. "The playwright-performer as scourge and benefactor : an examination of political satire and lampoon in South African theatre, with particular reference to Pieter-Dirk Uys." Thesis, 1993. http://hdl.handle.net/10413/8666.
Full textAbstract:
During the 1970s the plays of Pieter-Dirk Uys became causes celebres. In the 1980s he
was, commercially and artistically, arguably the most successful South African satirist.
By 1990 he had gained recognition in the United Kingdom, the United States of America,
Canada, Australia, the Netherlands and Germany. Yet relatively little research has been
undertaken or published which evaluates his contribution to South African theatre as a
playwright and performer of political satire. This dissertation aims to document and
assess the satiric work of Uys and that of his precursors and contemporaries.
The first chapter identifies certain characteristic features and purposes of satire as a
creative method which cannot be defined in purely literary terms. The views of local
practitioners and references to its manifestation in various non-literary and indigenous
forms are included to support the descriptive approach to satire in performance adopted in
later chapters.
Of necessity to a study of Uys's lampoons, Chapter 2 discusses the origins of lampoon and
the theatrical presentation of actual persons by Aristophanes (the first extant Western
playwright to do so). Both the textual and visual ridicule of Socrates, Euripides, Cleon
and Lamachus are considered, to argue that Aristophanes employed the nominal character
as a factional type to exemplify a concept for humorous rather than meliorative purposes.
Part One of Chapter 3 is a necessarily selective survey of the diversity, style and
censorship of satire in South Africa in various theatrical, literary and journalistic forms.
Part Two describes the use of satire by Adam Leslie, Jeremy Taylor, Robert Kirby and,
more recently, Paul Slabolepszy, Mark Banks, Ian Fraser, Eric Miyeni and the
'alternative' Afrikaners in plays and in revue, cabaret and stand-up comedy.
Chapter 4 examines the principal themes of Uys's plays to date, the 1981-1992 revues as
entertainment and as a reflection of certain social and political issues, the similarities
between his theatrical praxis and that of Aristophanes, and his satiric strategies in
performance: his preparatory and visual signifiers, his concern with proxemics, and his
mastery of kinesics, paralanguage and chronemics in depicting a spectrum of fictional and
non-fictional personae, including Evita Bezuidenhout, P.W. Botha and the Uys-persona.<br>Thesis (Ph.D.)-University of Natal, Durban, 1993.
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Scholtz, Pieter J. H. "Theatre for young audiences and the Commedia dell'arte : the living tradition of the Commedia dell'arte in theatre for young audiences, with specific reference to selected original texts and performances." Thesis, 1992. http://hdl.handle.net/10413/8694.
Full textAbstract:
The thesis affirms the relevance of "Theatre for Young Audiences" as a valid
and distinctive genre; a performance genre that should entertain, educate and
provide meaning in terms of its creative interaction with personal, social, artistic and
cultural issues. The practice of playwrighting is removed from the assumption that
it relies exclusively on inspiration, intuition and spontaneity; it is placed within a
creative, experiential and discursive mode in which dramatic, theatrical,
performance and structural issues can be researched, analysed and evaluated
culminating in the crafting, making and presentation of innovative and challenging
theatre.
The research component of the thesis attempts to identify the social and moral
responsibility of the playwright writing for young audiences. It is asserted that
knowledge about the maturation of young people is crucial in the creative processes
of writing plays and making theatre. The second chapter in Part One of the thesis,
asserts that knowledge about the physical, emotional and intellectual maturation of
the intended audience should clearly impact on the delineation of plot, action,
character, language, audience participation, ethics and morality. The thesis clearly
identifies the importance of this knowledge for the Arts Educator.
However, "Theatre for Young Audiences" does not function solely in the realm
of education. The thesis distinguishes this genre from those of "Theatre-in-Education"
and "Drama-in-Education". The thesis firmly supports this distinction
and affirms the status of "Theatre for Young Audiences" as a performing art. This
argument is given further credence by the creative interaction of original scripts with
the "living tradition" of the Commedia dell' Arte. The Commedia dell' Arte is
examined from an historical perspective; pertinent features are addressed, selected,
utilised and transformed into a dynamic theatrical experience for young audiences in
contemporary South Africa.
The Commedia dell' Arte serves as a theatrical model and becomes a creative
device for further and renewed innovation. The inclusion of three original plays in
Appendices 1, 2 and 3, plus numerous references to selected, original texts and
performances provide an illustration of the concept that playwrighting for young
people can effectively and imaginatively transpose theoretical inquiry into
imaginative and challenging theatre experience.
The thesis attempts to utilise a clear conceptual basis for the development of
argument - the educational and psychological perspectives provide a foundation for
ideas and critical writing. The theatre heritage becomes a catalyst for innovative and
pertinent theatre that affirms the status, purpose and nature of "Theatre for Young
Audiences" in contemporary South Africa.<br>Thesis (Ph.D.)-University of Natal, Durban, 1992.
Books on the topic "Tswana (South Africa) - Drama - History and criticism"
2
The drama of South Africa: Plays, pageants, and publics since 1910. Routledge, 1999.
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3
The dramatic art of Athol Fugard: From South Africa to the world. Indiana University Press, 2000.
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4
Distiller, Natasha. South Africa, Shakespeare, and post-colonial culture. Edwin Mellen Press, 2005.
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The black theatre movement in the United States and in South Africa. Universitat de València, 2008.
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Hauptfleisch, Temple. Theatre and society in South Africa: Some reflections in a fractured mirror. J.L. van Schaik Academic, 1997.
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Orkin, Martin. Drama and the South African state. Manchester University Press, 1991.
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Yiddish theatre in South Africa: A history from the late nineteenth century to 1960. Isaac and Jessie Kaplan Centre for Jewish Studies and Research, 2008.
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The Dramatic Art of Athol Fugard: From South Africa to the World. Indiana University Press, 2002.
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