Summary A study of dramatic time (in the text and in the performance) is undertaken by means of a... more Summary A study of dramatic time (in the text and in the performance) is undertaken by means of a discussion of the following remarks, namely (a) that dramatic time is always present time, (b) that we should distinguish in the performance between the timespan of the performance and the represented fictional time given in the performance, and in the dramatic text between reading time and the fictional time of the drama world; (c) that time influences and structures the dramatic events (sequence and tempo); (d) that time is often indicated chronologically (clock‐time), although the dramatis personae often experience time subjectively.
Summary A study of dramatic time (in the text and in the performance) is undertaken by means of a... more Summary A study of dramatic time (in the text and in the performance) is undertaken by means of a discussion of the following remarks, namely (a) that dramatic time is always present time, (b) that we should distinguish in the performance between the timespan of the performance and the represented fictional time given in the performance, and in the dramatic text between reading time and the fictional time of the drama world; (c) that time influences and structures the dramatic events (sequence and tempo); (d) that time is often indicated chronologically (clock‐time), although the dramatis personae often experience time subjectively.
The focus in this article is on the practice and occurrence of blackface on the South African Eng... more The focus in this article is on the practice and occurrence of blackface on the South African English stage from a historical theatre perspective as framed within a postcolonial perspective of this topic. The discussion will first address the use of this practice within early English theatre in South Africa as influenced by the blackface minstrelsy travelling troupes of the 19th century (1830s to 1870s), while the second part of the article will focus on the use of blackface by white actors on the South African stage to portray black characters in the early 20th century (1910 to 1930s).
Literator: Journal of literary criticism, comparative linguistics and literary studies, Apr 1, 2006
Lara Newton is an established and well-known theatre director who has directed more than 30 produ... more Lara Newton is an established and well-known theatre director who has directed more than 30 productions, won the prestigious international Rolex director's award and is now the Resident Director and playwright for the Baxter Theatre Centre in Cape Town. She is also a playwright of note and received in 1996 the Standard Bank Young Artist Award for Drama.
In his epic play on Afrikaner history (from the Great Trek in 1838 to the birth of the new South ... more In his epic play on Afrikaner history (from the Great Trek in 1838 to the birth of the new South Africa in 1994) Deon Opperman (award-winning South African playwright) presents the parallel and interlinked histories of two families-represented by a white patriarch and a black matriarch and their various descendants-against the background of important historical developments in South Africa. The article focuses on the depiction of the birth and demise of Afrikaner nationalism by identifying the "self" in Opperman's Donkerland, and by discussing the relationship of the self versus the "other" in this play. Deon Opperman se Donkerland: die opkoms en verval van Afrikaner-nasionalisme Deon Opperman (bekroonde Suid-Afrikaanse dramaturg) gee in sy epiese drama oor Afrikaner-geskiedenis (vanaf die Groot Trek in 1838 tot die geboorte van die nuwe Suid-Afrika in 1994) 'n parallele en ineengestrengelde uitbeelding van twee families-voorgestel deur 'n blanke patriarg en 'n swart matriarg, sowel as hulle onderskeie afstammelinge-teen die agtergrond van belangrike historiese ontwikkelinge in Suid-Afrika. Hierdie artikel fokus op die uitbeelding van die opkoms en verval van Afrikaner-nasionalisme deur die "self" in Opperman se Donkerland te identifiseer, sowel as om die verhouding tussen die self versus die "ander" in die drama te bespreek.
In this article, I give a bird’s eye view of the development of Kaaps (Afrikaans) drama: from the... more In this article, I give a bird’s eye view of the development of Kaaps (Afrikaans) drama: from the early days of Dutch Afrikaans drama when the use of so called “Hottentots Dutch” was first introduced to contemporary works that make use of Kaaps. Since “language” in drama is foregrounded by the use of dialogue by the characters in a play, the focus of this discussion is mainly on dramatic dialogue. Some insights of Vimala Herman as discussed in her seminal study, Dramatic discourse: dialogue as interaction in plays (1995), are used to structure this article’s theoretical parameters. She makes the point that dramatic dialogue is not simply the reflection of ordinary speech between speakers or even the “refinement” of such speech but is, in fact, much more complicated and should rather be seen as an imitation of the rules and conventions underpinning real life discourse. The playwright simply creates the illusion that a specific conversation is taking place between characters. An anal...
ʼn Historiese oorsig van die rol wat vertaling (asook verwerking) binne die Afrikaanse dramaen tea... more ʼn Historiese oorsig van die rol wat vertaling (asook verwerking) binne die Afrikaanse dramaen teatertradisie gespeel het – en nog steeds speel – kan onmoontlik gegee word in die bestek van ʼn enkele artikel. Daarvoor is die omvang van ʼn doktorale studie waarskynlik nodig – of selfs van verskeie studies. In hierdie artikel lig ek slegs enkele aspekte uit wat my opval binne hierdie tradisie:(1) Die groot rol wat dramavertalings gespeel het in die vroegste vestiging van ʼn Europese teater in Suid-Afrika waaruit die Engelse en Afrikaanse toneeltradisies ontstaan en ontwikkel het;(2) Die duidelike verbintenis tussen Afrikaanse dramavertalings en -verwerkings met die ontwikkeling van die Afrikaanse taal (van sy vroegste jare af tot met sy vestiging as amptelike taal in 1925 en die dekades daarna, asook tydens die hoogbloei van Afrikanernasionalisme in die vyftiger- tot tagtigerjare van die 20ste eeu); en (3) Die skuif binne hierdie toneeltradisie van konvensionele dramavertalings (vanaf aan...
In this article a discussion on migrant theatre in South Africa is given, with special reference ... more In this article a discussion on migrant theatre in South Africa is given, with special reference to Mike van Graan's play When Swallows Cry (2017). In the introduction a short background is given in terms of migration statistics and issues (notably xenophobia) pertaining to the South African state and society. Against the background of an international and national upsurge in migrant theatre the view is expressed that though we have had migrant theatre pre-1994 during the heyday of Nationalist apartheid ideology, a change has occurred since 1994 when the political dispensation changed in South Africa and the African National Congress (ANC) came into power. The situation today is more complex where intracontinental and cross-continental migrancy is now part of everyone's lives, as portrayed in Mike van Graan's When Swallows Cry. Van Graan's play thus reflects a changing focus in migrant plays in South Africa: from the very early plays concerned with internal migration in the country to plays that today reflect a more complex world (i.e. the often violent and xenophobic experiences of African migrants-also within a so-called new South Africa, but also in the rest of Africa and the bigger world). 2 Opsomming In hierdie artikel word ʼn bespreking van migrasieteater in Suid-Afrika gegee met spesiale verwysing na Mike van Graan se drama, When Swallows Cry (2017). In die inleiding word ʼn kort agtergrond gegee van migrasie-statistieke, asook die probleme geassosieer daarmee (onder meer, xenofobie) met verwysing na die Suid-Afrikaanse regering en gemeenskap. Teen die agtergrond van ʼn internasionale en nasionale toename in migrasieteater word die beskouing gehuldig dat, hoewel ons migrasieteater gehad het voor 1994 gedurende die hoogbloei van die Nasionale Party se apartheidsideologie, ʼn verandering ingetree het sedert 1994 toe die ANC die politieke mag in Suid-Afrika oorgeneem het. Die situasie is tans meer kompleks met intra-kontinentale en kruis-kontinentale migrasie wat nou deel is van ons almal se lewens, soos wat Mike van Graan in When Swallows Cry ook uitbeeld. Van Graan se drama weerspieël dus ʼn veranderende fokus in migrasieteater in Suid-Afrika: vanaf die vroeë dramas wat hoofsaaklik gehandel het oor interne migrasie in die land tot dramas wat vandag ʼn meer komplekse wêreld reflekteer (naamlik die dikwelse geweldadige en xenofobiese ervarings van Afrika-migrante binne die sogenaamde nuwe Suid-Afrika, maar ook in die res van Afrika en die wêreld daar buite).
n Historiese oorsig van die rol wat vertaling (asook verwerking) binne die Afrikaanse drama-en te... more n Historiese oorsig van die rol wat vertaling (asook verwerking) binne die Afrikaanse drama-en teatertradisie gespeel het - en nog steeds speel - kan onmoontlik gegee word in die bestek van n enkele artikel. Daarvoor is die omvang van n doktorale studie waarskynlik nodig - of selfs van verskeie studies. In hierdie artikel lig ek slegs enkele aspekte uit wat my opval binne hierdie tradisie: (1) Die groot rol wat dramavertalings gespeel het in die vroegste vestiging van n Europese teater in Suid-Afrika waaruit die Engelse en Afrikaanse toneeltradisies ontstaan en ontwikkel het; (2) Die duidelike verbintenis tussen Afrikaanse dramavertalings en -verwerkings met die ontwikkeling van die Afrikaanse taal (van sy vroegste jare af tot met sy vestiging as amptelike taal in 1925 en die dekades daarna, asook tydens die hoogbloei van Afrikanernasionalisme in die vyftiger- tot tagtigerjare van die 20ste eeu); en (3) Die skuif binne hierdie toneeltradisie van konvensionele dramavertalings (vanaf ...
Uitnodiging om bydraes in te stuur vir ’n spesiale uitgawe oor Suid-Afrikaanse dramavertalings en... more Uitnodiging om bydraes in te stuur vir ’n spesiale uitgawe oor Suid-Afrikaanse dramavertalings en -verwerkings.
This article is an exploratory study of how Khoisan (so-called 'Hottentot' and 'Boesm... more This article is an exploratory study of how Khoisan (so-called 'Hottentot' and 'Boesman') characters, as well as some of the other indigenous peoples of South Africa are portrayed in a few early Dutch-Afrikaans dramas; in particular Boniface's De Temperantisten, A.G. Bain's Kaatje Kekkelbek, some of Melt Brink's plays, and S.J. du Toit's Magrita Prinslo. In order to get a sense of the period (1832 - 1920) an introductory section focuses on the historical and cultural contexts in which Dutch-Afrikaans drama and theatre developed in this country. These contexts had a direct impact on this development and give some form of understanding as to why Dutch-Afrikaans theatre and English theatre developed so differently from each other. The role played by the emergence of the Afrikaans language (as well as Afrikaner Nationalism) within these contexts is also briefly discussed. The main focus of the article is finally on the portrayal of Khoisan characters as found in the four above-mentioned authors' work.Afrikaans and Theory of Literatur
"African performers, dramatists and directors have far out-paced chroniclers, critics and li... more "African performers, dramatists and directors have far out-paced chroniclers, critics and librarians, and as a result, those preparing accounts of theatre movements and performance on the continent have very limited resources to work on. African Theatre 9 addresses the topic of theatre history and, more specifically, looks at a selection of theatrical movements and events between 1850 and 1950. Drawing on such archived resources as are available, this volume seeks to recover moments from the past by bringing together papers that explore the complexity of the relationships that characterised a century of contact, conflict, compromise and creativity. The findings provide essential background to understanding contemporary developments in African theatre, and draw attention to the importance of documenting performances."
Summary A study of dramatic time (in the text and in the performance) is undertaken by means of a... more Summary A study of dramatic time (in the text and in the performance) is undertaken by means of a discussion of the following remarks, namely (a) that dramatic time is always present time, (b) that we should distinguish in the performance between the timespan of the performance and the represented fictional time given in the performance, and in the dramatic text between reading time and the fictional time of the drama world; (c) that time influences and structures the dramatic events (sequence and tempo); (d) that time is often indicated chronologically (clock‐time), although the dramatis personae often experience time subjectively.
Summary A study of dramatic time (in the text and in the performance) is undertaken by means of a... more Summary A study of dramatic time (in the text and in the performance) is undertaken by means of a discussion of the following remarks, namely (a) that dramatic time is always present time, (b) that we should distinguish in the performance between the timespan of the performance and the represented fictional time given in the performance, and in the dramatic text between reading time and the fictional time of the drama world; (c) that time influences and structures the dramatic events (sequence and tempo); (d) that time is often indicated chronologically (clock‐time), although the dramatis personae often experience time subjectively.
The focus in this article is on the practice and occurrence of blackface on the South African Eng... more The focus in this article is on the practice and occurrence of blackface on the South African English stage from a historical theatre perspective as framed within a postcolonial perspective of this topic. The discussion will first address the use of this practice within early English theatre in South Africa as influenced by the blackface minstrelsy travelling troupes of the 19th century (1830s to 1870s), while the second part of the article will focus on the use of blackface by white actors on the South African stage to portray black characters in the early 20th century (1910 to 1930s).
Literator: Journal of literary criticism, comparative linguistics and literary studies, Apr 1, 2006
Lara Newton is an established and well-known theatre director who has directed more than 30 produ... more Lara Newton is an established and well-known theatre director who has directed more than 30 productions, won the prestigious international Rolex director's award and is now the Resident Director and playwright for the Baxter Theatre Centre in Cape Town. She is also a playwright of note and received in 1996 the Standard Bank Young Artist Award for Drama.
In his epic play on Afrikaner history (from the Great Trek in 1838 to the birth of the new South ... more In his epic play on Afrikaner history (from the Great Trek in 1838 to the birth of the new South Africa in 1994) Deon Opperman (award-winning South African playwright) presents the parallel and interlinked histories of two families-represented by a white patriarch and a black matriarch and their various descendants-against the background of important historical developments in South Africa. The article focuses on the depiction of the birth and demise of Afrikaner nationalism by identifying the "self" in Opperman's Donkerland, and by discussing the relationship of the self versus the "other" in this play. Deon Opperman se Donkerland: die opkoms en verval van Afrikaner-nasionalisme Deon Opperman (bekroonde Suid-Afrikaanse dramaturg) gee in sy epiese drama oor Afrikaner-geskiedenis (vanaf die Groot Trek in 1838 tot die geboorte van die nuwe Suid-Afrika in 1994) 'n parallele en ineengestrengelde uitbeelding van twee families-voorgestel deur 'n blanke patriarg en 'n swart matriarg, sowel as hulle onderskeie afstammelinge-teen die agtergrond van belangrike historiese ontwikkelinge in Suid-Afrika. Hierdie artikel fokus op die uitbeelding van die opkoms en verval van Afrikaner-nasionalisme deur die "self" in Opperman se Donkerland te identifiseer, sowel as om die verhouding tussen die self versus die "ander" in die drama te bespreek.
In this article, I give a bird’s eye view of the development of Kaaps (Afrikaans) drama: from the... more In this article, I give a bird’s eye view of the development of Kaaps (Afrikaans) drama: from the early days of Dutch Afrikaans drama when the use of so called “Hottentots Dutch” was first introduced to contemporary works that make use of Kaaps. Since “language” in drama is foregrounded by the use of dialogue by the characters in a play, the focus of this discussion is mainly on dramatic dialogue. Some insights of Vimala Herman as discussed in her seminal study, Dramatic discourse: dialogue as interaction in plays (1995), are used to structure this article’s theoretical parameters. She makes the point that dramatic dialogue is not simply the reflection of ordinary speech between speakers or even the “refinement” of such speech but is, in fact, much more complicated and should rather be seen as an imitation of the rules and conventions underpinning real life discourse. The playwright simply creates the illusion that a specific conversation is taking place between characters. An anal...
ʼn Historiese oorsig van die rol wat vertaling (asook verwerking) binne die Afrikaanse dramaen tea... more ʼn Historiese oorsig van die rol wat vertaling (asook verwerking) binne die Afrikaanse dramaen teatertradisie gespeel het – en nog steeds speel – kan onmoontlik gegee word in die bestek van ʼn enkele artikel. Daarvoor is die omvang van ʼn doktorale studie waarskynlik nodig – of selfs van verskeie studies. In hierdie artikel lig ek slegs enkele aspekte uit wat my opval binne hierdie tradisie:(1) Die groot rol wat dramavertalings gespeel het in die vroegste vestiging van ʼn Europese teater in Suid-Afrika waaruit die Engelse en Afrikaanse toneeltradisies ontstaan en ontwikkel het;(2) Die duidelike verbintenis tussen Afrikaanse dramavertalings en -verwerkings met die ontwikkeling van die Afrikaanse taal (van sy vroegste jare af tot met sy vestiging as amptelike taal in 1925 en die dekades daarna, asook tydens die hoogbloei van Afrikanernasionalisme in die vyftiger- tot tagtigerjare van die 20ste eeu); en (3) Die skuif binne hierdie toneeltradisie van konvensionele dramavertalings (vanaf aan...
In this article a discussion on migrant theatre in South Africa is given, with special reference ... more In this article a discussion on migrant theatre in South Africa is given, with special reference to Mike van Graan's play When Swallows Cry (2017). In the introduction a short background is given in terms of migration statistics and issues (notably xenophobia) pertaining to the South African state and society. Against the background of an international and national upsurge in migrant theatre the view is expressed that though we have had migrant theatre pre-1994 during the heyday of Nationalist apartheid ideology, a change has occurred since 1994 when the political dispensation changed in South Africa and the African National Congress (ANC) came into power. The situation today is more complex where intracontinental and cross-continental migrancy is now part of everyone's lives, as portrayed in Mike van Graan's When Swallows Cry. Van Graan's play thus reflects a changing focus in migrant plays in South Africa: from the very early plays concerned with internal migration in the country to plays that today reflect a more complex world (i.e. the often violent and xenophobic experiences of African migrants-also within a so-called new South Africa, but also in the rest of Africa and the bigger world). 2 Opsomming In hierdie artikel word ʼn bespreking van migrasieteater in Suid-Afrika gegee met spesiale verwysing na Mike van Graan se drama, When Swallows Cry (2017). In die inleiding word ʼn kort agtergrond gegee van migrasie-statistieke, asook die probleme geassosieer daarmee (onder meer, xenofobie) met verwysing na die Suid-Afrikaanse regering en gemeenskap. Teen die agtergrond van ʼn internasionale en nasionale toename in migrasieteater word die beskouing gehuldig dat, hoewel ons migrasieteater gehad het voor 1994 gedurende die hoogbloei van die Nasionale Party se apartheidsideologie, ʼn verandering ingetree het sedert 1994 toe die ANC die politieke mag in Suid-Afrika oorgeneem het. Die situasie is tans meer kompleks met intra-kontinentale en kruis-kontinentale migrasie wat nou deel is van ons almal se lewens, soos wat Mike van Graan in When Swallows Cry ook uitbeeld. Van Graan se drama weerspieël dus ʼn veranderende fokus in migrasieteater in Suid-Afrika: vanaf die vroeë dramas wat hoofsaaklik gehandel het oor interne migrasie in die land tot dramas wat vandag ʼn meer komplekse wêreld reflekteer (naamlik die dikwelse geweldadige en xenofobiese ervarings van Afrika-migrante binne die sogenaamde nuwe Suid-Afrika, maar ook in die res van Afrika en die wêreld daar buite).
n Historiese oorsig van die rol wat vertaling (asook verwerking) binne die Afrikaanse drama-en te... more n Historiese oorsig van die rol wat vertaling (asook verwerking) binne die Afrikaanse drama-en teatertradisie gespeel het - en nog steeds speel - kan onmoontlik gegee word in die bestek van n enkele artikel. Daarvoor is die omvang van n doktorale studie waarskynlik nodig - of selfs van verskeie studies. In hierdie artikel lig ek slegs enkele aspekte uit wat my opval binne hierdie tradisie: (1) Die groot rol wat dramavertalings gespeel het in die vroegste vestiging van n Europese teater in Suid-Afrika waaruit die Engelse en Afrikaanse toneeltradisies ontstaan en ontwikkel het; (2) Die duidelike verbintenis tussen Afrikaanse dramavertalings en -verwerkings met die ontwikkeling van die Afrikaanse taal (van sy vroegste jare af tot met sy vestiging as amptelike taal in 1925 en die dekades daarna, asook tydens die hoogbloei van Afrikanernasionalisme in die vyftiger- tot tagtigerjare van die 20ste eeu); en (3) Die skuif binne hierdie toneeltradisie van konvensionele dramavertalings (vanaf ...
Uitnodiging om bydraes in te stuur vir ’n spesiale uitgawe oor Suid-Afrikaanse dramavertalings en... more Uitnodiging om bydraes in te stuur vir ’n spesiale uitgawe oor Suid-Afrikaanse dramavertalings en -verwerkings.
This article is an exploratory study of how Khoisan (so-called 'Hottentot' and 'Boesm... more This article is an exploratory study of how Khoisan (so-called 'Hottentot' and 'Boesman') characters, as well as some of the other indigenous peoples of South Africa are portrayed in a few early Dutch-Afrikaans dramas; in particular Boniface's De Temperantisten, A.G. Bain's Kaatje Kekkelbek, some of Melt Brink's plays, and S.J. du Toit's Magrita Prinslo. In order to get a sense of the period (1832 - 1920) an introductory section focuses on the historical and cultural contexts in which Dutch-Afrikaans drama and theatre developed in this country. These contexts had a direct impact on this development and give some form of understanding as to why Dutch-Afrikaans theatre and English theatre developed so differently from each other. The role played by the emergence of the Afrikaans language (as well as Afrikaner Nationalism) within these contexts is also briefly discussed. The main focus of the article is finally on the portrayal of Khoisan characters as found in the four above-mentioned authors' work.Afrikaans and Theory of Literatur
"African performers, dramatists and directors have far out-paced chroniclers, critics and li... more "African performers, dramatists and directors have far out-paced chroniclers, critics and librarians, and as a result, those preparing accounts of theatre movements and performance on the continent have very limited resources to work on. African Theatre 9 addresses the topic of theatre history and, more specifically, looks at a selection of theatrical movements and events between 1850 and 1950. Drawing on such archived resources as are available, this volume seeks to recover moments from the past by bringing together papers that explore the complexity of the relationships that characterised a century of contact, conflict, compromise and creativity. The findings provide essential background to understanding contemporary developments in African theatre, and draw attention to the importance of documenting performances."
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