Pub Date : 2018-08-13DOI: 10.1080/10137548.2018.1505103
Marie Kruger
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Pub Date : 2018-06-05DOI: 10.1080/10137548.2018.1473791
P. Maedza
This article analyses Gina Shmukler’s verbatim play The Line (2012) and argues for another look at the testimonies captured from witnesses, survivors and perpetrators of the violence targeting foreign and perceived as foreign persons in South Africa that escalated in 2008 and in 2015. It is a narrative analysis of the play that uses Gregory H. Stanton’s Ten Stages of Genocide model and the United Nations Convention on Genocide to investigate the theatrical representation of the violence. This account argues that the events that are captured in the play and that inspired it should be reconsidered as acts of genocide. In the absence of an official acknowledgement of the events as genocide, performances like The Line and other ‘xenophobia’ plays entomb what Winston Churchill called ‘a crime without a name’ (1965). The article argues that performance stands as the public yet ephemeral and embodied commemoration of the trauma of genocide violence, filling the void of the absent murals and museums that are often a built-in commemoration of past and contemporary trauma.
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Pub Date : 2018-05-04DOI: 10.1080/10137548.2018.1462615
A. Hofer
Pulitzer Prize-winning dramatist August Wilson is arguably the most prolific storyteller of the African American experience and the most discussed Black playwright in the American academy. As indicated by the book editors, Sandra Richards and Sandra Shannon, Wilson’s works are a “powerful, astonishing [piece of] theater that offers new, restorative possibilities” (3). This book, Approaches to Teaching the Plays of August Wilson, contains a collection of well-written interdisciplinary essays by scholars, directors, and dramaturgs. Dissimilar to previous studies, the book concentrates on pedagogical strategies for examining and interrogating the life and works of August Wilson in a mixture of academic spaces, courses, and structures. Contributors include Paul Bryant-Jackson, Faedra Chatard Carpenter, Harry Elam Jr., James Engstrom, Joan Herrington, Douglas A. Jones, Jr., Alan Nadel, Andrew Scheiber, Von Washington, and Dana Williams.
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Pub Date : 2018-04-25DOI: 10.1080/10137548.2018.1451360
Robin K. Crigler
Despite the contemporary prominence of cartoonists and stand-up comedians in South Africa, woefully little scholarship exists on the history of South African humour. In the 1990s and into the twenty-first century, humour has been a key medium through which ‘South African-ness’ has been represented – perhaps most successfully and controversially in the comedy films of Leon Schuster. This article demonstrates the value of further inquiry into humour history by comparing Schuster’s lucrative films Mr. Bones and There’s a Zulu On My Stoep to the work of Stephen Black, a journalist and playwright of the early Union Period (1910s–1920s), whose humorous works use strikingly similar tactics to represent the nation amid a much earlier – and sorely neglected – nation-building effort.
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Pub Date : 2018-01-16DOI: 10.1080/10137548.2017.1407025
Anton Krueger
Everybody’s festival is different. Each individual charts their own course in navigating this vast, unwieldy, multidisciplinary festival of festivals that happens every year in the Eastern Cape. Since the long running print version of the festival paper,Cuewent under this year when Standard Bank withdrew funding, I wasn’t officially reviewing and this freed me up to play a bit more and to see things that appealed to me, rather than having to attend shows from a sense of obligation. It felt as though I got to sample a good range of the many different festivals on offer in Grahamstown this year, and I really had an excellent time of it, ending up with a wide mix of music, comedy, traditional theatre and more experimental live art, as well as touring the sculpture, painting and digital exhibitions (which included a great 3D experience). Throw in a book launch and a panel discussion, a couple of Korean films and a demo-talk about the history of the slide guitar and it’s a feast. (‘The Weirdest Music I Ever Heard’ was my first encounter with Richard Haslop and definitely a highlight.) I was also involved in the festival in various ways: performing in an improv comedy troupe; talking on a panel at Wordfest (about Archbishop Tutu and the Dalai Lama’s Book of Joy [2016]); presenting at Thinkfest on Mindfulness and Performance Art. This year I was also one of the examiners for theMApieces presented byour DramaDepartment at Rhodes (or UCKAR – the University Currently Known as Rhodes – as it’s creatively been renamed by those impatient for change.) So, I got to engage with various student productions as well. Of course, there’s also the impromptu late-night festival that happens when you bump into friends and meet artists after midnight at the Long Table or the Bowling Club. That’s where you get a sense of which shows are sailing along, and which are barely keeping afloat, punctured irreparably below the waterline by technical difficulties or a wounding review. This meeting and talking and drinking and eating together is also very much part of the festival. Making connections and being open to encountering the unexpected adds to the uncontainable, unframeable open energy of the festival experience, celebrating beauty, critiquing ideas, sharing experiences, cultures, emotions. Festivals are excessive.
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Pub Date : 2018-01-02DOI: 10.1080/10137548.2017.1408422
Lliane Loots
This article aims to interrogate and investigate the duel engagement with narrative and storytelling as a methodology towards collective and collaborative choreographic processes, and engages narrative as a theory of making meaning. Narrative theorists study how stories help people make sense of the world, while also studying how people make sense of stories. While narrative theory is generally located in the realm of literature and of words, this article starts to look at the interface of words, meaning and the embodiment of using the physical to tell stories. The article begins to push an understanding of Hélène Cixous’ ‘l’ecriture feminine’ to a feminist engagement that looks outside the word/logos and that turns to dance as a more open, fluid and multiple way of telling embodied stories. Further, this article – taking both the act of storytelling and the act of theorizing through narrative – frames my own autoethnographic engagement with a trilogy of connected dance work that I collaboratively created with Flatfoot Dance Company over 2016 which I refer to as the Homeland Trilogy – two performed separately in South Africa and the third performed in Senegal. The three works are connected by theme and choreographic intention and were made to stand alone but also to be read next to one another. Their connection from South to West Africa also become a point of navigation of meaning and narrating. This article offers a critical analysis/narrative of my own choreography (and the embodied process of making and doing); this is done as an act of one text (the Homeland Trilogy), written on the body with other bodies, being answered by another academic text of words and letters (also arguably embodied), responding to the constructions and play of knowledge and power.
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Pub Date : 2018-01-02DOI: 10.1080/10137548.2018.1425527
M. Coetzee
I shall reconsider human knowledge by starting from the fact that we can know more than we can tell. (Polanyi 1967, p.4)
我将从我们能知道的比我们能说的多这一事实出发，重新考虑人类的知识。(波兰尼1967，第4页)
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Pub Date : 2018-01-02DOI: 10.1080/10137548.2017.1415167
Samantha Prigge-Pienaar
This article offers some preliminary suggestions of where perceived boundaries usually drawn between theatre and sport may be porous and malleable, with the individual performing body serving as the source point of complex action and exchange. By means of an intertextual approach, this article therefore starts to give account of the dynamic relationships between spontaneity, subjectivity, control and conditioning that exist in both sport and theatre. Particular attention is paid to those forms of theatre and sport in which indeterminacy plays a key role. Secondary sources have been selected in which the personal performing body – acknowledged as being able to write its own script and take action through embodied play – is seen to invite risk, action and transformation. The discussion begins with a focus on Theatresports™, as an example of a purposeful converging of key characteristics from both theatre and sport. Further examples from physical theatre, wrestling and boxing highlight the complex relationship between liberation and restraint through play. This article forms the preliminary phase of a proposed extended research project with the same title: it thus aims to offer some of the key observations that have arisen so far and which invite deeper investigation.
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Pub Date : 2018-01-02DOI: 10.1080/10137548.2017.1413951
T. Meskin, Tanya van der Walt
This article explores the use of self-study as a methodology for interrogating embodied practice, in our work as theatre-makers, teachers, and researchers. This approach offers a means to uncover and elucidate the embodied knowledge that often remains unspoken in artists’ creative processes. Such knowledge is deeply personal, difficult to express, and often reduced to the generic catch-all terms of talent or instinct. While talent and instinct are important, we believe that finding ways to codify and communicate the ‘knowing how’ of the artist’s embodied practice is significant for the discourse of drama and performance. Self-study is a methodology borrowed from teacher education practice; this article explores the potential application of the method beyond the borders of traditional education discourse into the field of creative arts and practitioner research. We position self-study as reflexive, and explore its connections to practice as research and a/r/tography, offering theatre practitioners, teachers, and researchers a methodology that recognizes, supports, and nurtures the creative impulse and its embodied nature. This article draws on the literature and theoretical aspects of self-study in order to reflect on the possibilities it affords creative artists for innovative and interdisciplinary research around their embodied practice.
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