Pub Date : 2021-05-04DOI: 10.1080/10137548.2022.2031265
Nkululeko Sibanda
This paper deploys theories of social performance as a lens to engage and examine narratives of resistance in Amakhosi Theatre Productions’ Workshop Negative. It locates and frames Amakhosi Theatre Productions’ Workshop Negative as a personal and community narrative inscribed with agency. Deploying the social theories of performance and the narrative of resistance approach as an analytical framework, this paper analyses and critiques Workshop Negative as a representation of everyday lived experiences and meaning-making in the community as well as undertake a nuanced reading of the Zimbabwean socio-cultural and political landscape under which this narrative (work) was created, produced and performed. This article critiques Workshop Negative’s aesthetic playmaking methods as narrative techniques of storying its members’ lives, voices and that of the community. In essence, I seek to understand how members of Amakhosi Theatre Productions aesthetically made meaning of their lives and illustrated these narratives in Workshop Negative. I argue that Amakhosi Theatre Productions’ situatedness in the community enabled them to aesthetically create and perform narratives located in the everyday lived experiences of the Bulawayo community. In so doing, I submit that Amakhosi Theatre Productions’ plays such as Workshop Negative linked personal stories with the big story narratives of Bulawayo and/ Zimbabwe.
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Pub Date : 2021-05-04DOI: 10.1080/10137548.2022.2051731
Izuu Nwankwọ
Stand-up comedy in Nigeria today has become not only big business but popular entertainment. It is, indubitably, one of the most obvious of the entertainment industry boom the country has recorded since the 1990s. The overwhelming patronage it has received transcends the deep ethnoreligious divisions within Nigeria and has ensured the prosperity of its practitioners. In this paper, through a histo-cultural perspective, I interrogate the performance ‘mechanics’ of the stand-up renditions of select Nigerian jokesters. This inquiry takes the perspective of theatre and performance studies, highlighting similarities and differences, and emphasizing how stand-up comedy straddles the two disciplines. The stage ‘mechanics’ of two Nigerian jokesters, Klint de Drunk and Basketmouth are examined to show how joke contexts and stage personalities are deployed towards laughter evocation.
如今，在尼日利亚，单口相声不仅成为大生意，而且成为受欢迎的娱乐节目。毫无疑问，这是该国自20世纪90年代以来娱乐业最明显的繁荣之一。它获得的压倒性赞助超越了尼日利亚内部根深蒂固的种族宗教分歧，确保了其从业者的繁荣。在这篇论文中，通过历史文化的视角，我质疑了一些尼日利亚小丑单口相声表演的“机制”。这项调查从戏剧和表演研究的角度出发，强调了相似之处和差异，并强调了单口喜剧是如何跨越这两个学科的。研究了两位尼日利亚小丑Klint de Drunk和Basketmouth的舞台“机制”，以展示笑话背景和舞台个性是如何被用于唤起笑声的。
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Pub Date : 2021-01-02DOI: 10.1080/10137548.2021.2020157
Pfunzo Sidogi, Hulisani Ndou
The centrality of Ubuntu in much of African theatre of the South is well documented. Likewise, discourses that explicate the stylistics and aesthetics of African theatre abound. In this paper, we harmonize these existing theorizations on the expression of Ubuntu within African theatre and the prevailing readings of the aesthetics of such theatrical practices into the notion of ‘Ubuntu aesthetics’. The idea of Ubuntu aesthetics or the ‘aesthetics of Ubuntu’ within African theatre is not novel. However, our contribution to this discourse in this paper is to show how the unification of Ubuntu and performance aesthetics presents alternate conceptual pathways of the appreciation, appraisal, and study of African theatre praxis underpinned by an Ubuntu sensibility. To this end, this paper is an introductory attempt at institutionalizing the notion of Ubuntu aesthetics. We locate and contextualize this codification of Ubuntu aesthetics within African theatre of the South, which is representative of alternative performance and ritual practices that operate within, in-between, and beyond the conventional theatre spatial orders. As case studies, we review the theatre production Ngoma The Musical, which embodied the dynamics of Ubuntu aesthetics, alongside Brett Bailey’s Exhibit series which problematizes this notion.
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Pub Date : 2021-01-02DOI: 10.1080/10137548.2022.2074533
T. K. Tume
In 1970, when the first edition of the Nigerian National Festival of Arts and Culture (NAFEST) was organized, the primary aim was to provide a platform to stimulate national healing and unity for a country that had just emerged from a civil war. The festival is one of the mechanisms which the Federal Government of Nigeria devised to combat the challenges that cultural diversity poses to the country. The primary aim of NAFEST is to nurture a sense of belonging among Nigerians, through a showcase of the diverse arts and culture of Nigeria. In agreement with the argument of some scholars that mere celebration of festivals is inadequate to promote national unity among citizens, this article connects to the Yoruba Awarawari’rawa concept and the theory of statehood to seek the negotiation of unity in NAFEST activities. The paper establishes the NAFEST ideology and classifies the contents of the festival. It also identifies the channels through which the festival drives its set goal of national cohesion. The study employs the participant-observation and interview techniques as instruments for the harvest of data. It is our finding that the NAFEST ideology of statehood and national unity is consciously manifested in the various activities of the festival. The paper concludes by advocating for intensified collective actions of the festival organizers and participants, to increase grassroot participation at the festival, so as to ensure a wider reach for the NAFEST message of national unity.
{"title":"Awarawari’rawa … performing statehood for unity in the Nigerian National Festival of Arts and Culture","authors":"T. K. Tume","doi":"10.1080/10137548.2022.2074533","DOIUrl":"https://doi.org/10.1080/10137548.2022.2074533","url":null,"abstract":"In 1970, when the first edition of the Nigerian National Festival of Arts and Culture (NAFEST) was organized, the primary aim was to provide a platform to stimulate national healing and unity for a country that had just emerged from a civil war. The festival is one of the mechanisms which the Federal Government of Nigeria devised to combat the challenges that cultural diversity poses to the country. The primary aim of NAFEST is to nurture a sense of belonging among Nigerians, through a showcase of the diverse arts and culture of Nigeria. In agreement with the argument of some scholars that mere celebration of festivals is inadequate to promote national unity among citizens, this article connects to the Yoruba Awarawari’rawa concept and the theory of statehood to seek the negotiation of unity in NAFEST activities. The paper establishes the NAFEST ideology and classifies the contents of the festival. It also identifies the channels through which the festival drives its set goal of national cohesion. The study employs the participant-observation and interview techniques as instruments for the harvest of data. It is our finding that the NAFEST ideology of statehood and national unity is consciously manifested in the various activities of the festival. The paper concludes by advocating for intensified collective actions of the festival organizers and participants, to increase grassroot participation at the festival, so as to ensure a wider reach for the NAFEST message of national unity.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"34 1","pages":"47 - 59"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44631651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/10137548.2021.2012508
A. O. Oloruntoba
The roles of prominent anti-apartheid fighters, trade unionists, journalists, religious leaders, writers – fictional and non-fictional – and artists have been important in the documentation of the public intellectual culture in South Africa. These are sets of people whose efforts and influences enhanced the achievement of a democratic South Africa. However, since the official end of apartheid in 1994, most South African critics have been those in academics. Artists, especially playwrights, have not received as much attention as they should. Also, when playwrights are studied, attention is mostly directed towards anti-apartheid playwrights, and most of these studies are not focused on positioning them within the conceptual framework of the public intellectual. As a way of studying the effectiveness and ultimate worth of the transitional playwright, this paper seeks to engage in a qualitative interrogation of the works of South African playwright and cultural critic, Mike Van Graan by exploring his status as a public intellectual in the era after apartheid. To achieve this, the paper examines one of Van Graan’s plays, Some Mothers’ Sons (2005), and one online essay published in 2020 and shared on his social media pages: Facebook, and Twitter. The extension of this study to social media platforms will enable this paper to adopt a study of Van Graan’s literary and non-literary works and the reactions they have gathered.
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Pub Date : 2021-01-02DOI: 10.1080/10137548.2022.2050514
K. Magogodi
This review focuses on the authors ’ coverage and discursive interpretation of South African theatre. The contextual relevance, scholarly rigour, historical accuracy and representation of historiography come under scrutiny. The Methuen Drama Guide is a contribution to the growing body of literature on the actors, trends and provocations of South African theatre. Herbert I. E. Dhlomo, Bheki Peterson, Maishe Maponya, Mango Shabangu, Robert Kavanagh and Loren Kruger have undertaken these scholarly projects. The Methuen Drama Guide is emblazoned by the primary colours of the ‘ new ’ South African fl ag, signalling the multiplicity of references to follow. The implications of this fl ag for artistic and scholarly expression appear to escape the writers ’ scrutiny. Published during the ’ movement, the book is placed in an epoch when and staff free education, decolonizing of the teaching environment and an academy which af fi rms African knowledge systems. Regrettably, the publication misses an opportune moment, centring the Eurocentrism which was indicted for sti fl ing teaching, learning and research. by the Market Theatre, founded by Barney Simon and Mannie Manim as a structure and institution is reasonably comprehensively archived. Dedicated to opposing state authority and the pervasive implementation of nationalist policy, the Market Theatre was a platform for resisting all aspects of racism and actively committed to challenging discrimination, separatism, segregation and oppression. The principle of bold independence was instrumental in forging an ideologically based work ethic and inculcated resistance to forms of hierarchy and privilege. The Market Theatre ’ s achieve-ments were produced through the efforts and persistence of two individuals who strove for its foundation on ethical basis in what Ronge calls ‘ a great epic struggle ’ . (2015, p. 20)
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Pub Date : 2021-01-02DOI: 10.1080/10137548.2021.2016072
M. Taub, A. Lamprecht
Harnessing Walter Benjamin’s [2009. One way street and other writing. London: Penguin Classics] Eingedenken and Jetztzeit along with the co-author’s notion of the Absent (a term in impossible redemption) into insurgent allegorical devices, are useful in reassembling reflections of ‘Time Flies’: a treasure hunt led performance project co-created by the co-authors between 2008 and 2018. The reflective essay is made in three parts (or theatrical acts) and prescribes to three themes: (i) absence, (ii) foolishness and (iii) remembrance. These three parts occur through an embodiment of absent authorship, made as a point of considering how the project and ideas collate into allegorical absence in reconsidering colonial space in the post-colonial city.
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Pub Date : 2020-09-01DOI: 10.1080/10137548.2021.1963112
Anton Krueger
Actors who might not reach the ‘required’ amount of fame to be considered ‘successful’, could experience this as failure which could lead to distress. The Outstanding Actor, seven keys to success is a clearly written acting resource offering a multitude of exercises that, if done correctly and often, will make for a better practitioner. I will definitely be recommending this book to all my acting students. I end this review with one of Rea’s most pragmatic yet poignant statements, ‘When you step onto the stage, you are one of the lucky minority that has an acting job that night, and you need to remember your responsibility to your audience, who are paying your wages’ (p. 54). Our responsibility, especially in these soul destroying times, is not only to ourselves, but also to our industry.
{"title":"Forays into contemporary South African theatre: devising new stage idioms","authors":"Anton Krueger","doi":"10.1080/10137548.2021.1963112","DOIUrl":"https://doi.org/10.1080/10137548.2021.1963112","url":null,"abstract":"Actors who might not reach the ‘required’ amount of fame to be considered ‘successful’, could experience this as failure which could lead to distress. The Outstanding Actor, seven keys to success is a clearly written acting resource offering a multitude of exercises that, if done correctly and often, will make for a better practitioner. I will definitely be recommending this book to all my acting students. I end this review with one of Rea’s most pragmatic yet poignant statements, ‘When you step onto the stage, you are one of the lucky minority that has an acting job that night, and you need to remember your responsibility to your audience, who are paying your wages’ (p. 54). Our responsibility, especially in these soul destroying times, is not only to ourselves, but also to our industry.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"33 1","pages":"112 - 120"},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43588819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/10137548.2021.1909300
N. Holm
This is in essence a self-help book aimed at actors in training (which should be all actors!). Rea writes ‘the purpose of this book: to give you a reliable process that will help accelerate your ow...
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Pub Date : 2020-09-01DOI: 10.1080/10137548.2020.1844045
Marina Albertyn, Marie Kruger
This article examines the representation of female characters in four plays about the Border War. Female characters are discussed using three archetypes: that of the Virgin, the Mother and the Whore. Aside from giving an overview of female characters in the Border War drama canon, the article also critically analyses whether these representations serve to strengthen or destabilize the hegemonic view of the conscript as a hero which was perpetuated by the apartheid government. The article’s findings are that some plays’ female characters, such as Christine in Deon Opperman’s Tree Aan! (2011), represent an uncomplicated archetype of a Virgin. This woman is largely passive, apolitical and needs to be protected by a heroic conscript. In this sense, the playwright uses the female character to portray a restorative nostalgic view of the past. Other plays, such as Malan’s Johnny is nie Dood nie, Leach’s Die Spinner and Fourie’s Boetman is die Bliksem in!, have female characters that serve to subvert restorative nostalgic views of the past. The article found that contrary to Tree Aan!, these plays use female voices to question and destabilize the conscripts’ master narrative of the Border War as a singularly heroic war against communism. The Volksmoeder (Mother) archetype is used by Fourie as a commentary on the role mothers played in upholding the old regime. In this way, female guilt and complicity in past wrongdoing is also examined. Female agency during this era, albeit limited, is thus acknowledged and passivity is critically examined. The article concludes with its central finding: that there is a significant lack of Whore characters; rebellious women who question men. The author posits that this lack of insubordinate women reflects the masculine world of the Border War.
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