Pub Date : 2020-09-01DOI: 10.1080/10137548.2021.1884127
Stephen Faber, M. Coetzee, M. Munro
This article assessed the efficacy of a skills-development module in pre-recorded digital performing arts (PRDPA) that was presented as an online workshop within the South African educational paradigm. The PRDPA module embraces the democratization of online media that the internet, in specific YouTube offers. PRDPA skills may enable young performers to introduce themselves to an online audience, promote themselves as performing artists and facilitate the efficacy of their online presence and digital footprint. The article drew on the theoretical domain of mediality, which included online presence, digital performance and PRDPA; and on the domain of education, which included social constructivism, and teaching and learning in a social network environment. The research was conducted as a qualitative, empirical study following a case study approach that made use of elements of cyberethnography and a differentiated comparative analysis. The pre-workshop videos and the videos that were created as part of the workshop by the workshop participants were analyzed, as well as the responses of a group of experts to the material generated by the participants before and after the presentation of the module. The analysis was supported by an evaluation of the module by the participants.
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Pub Date : 2020-05-26DOI: 10.1080/10137548.2020.1754896
Jennie Reznek, S. Bala
Jennie Reznek is Co- Artistic Director and Trustee of Magnet Theatre in Cape Town, South Africa. I turned away and she was gone is the fifth solo work that she has developed under the banner of Mag...
{"title":"‘And while I am falling, I listen’: on translation processes in I turned away and she was gone (2014) Jennie Reznek* in conversation with Sruti Bala","authors":"Jennie Reznek, S. Bala","doi":"10.1080/10137548.2020.1754896","DOIUrl":"https://doi.org/10.1080/10137548.2020.1754896","url":null,"abstract":"Jennie Reznek is Co- Artistic Director and Trustee of Magnet Theatre in Cape Town, South Africa. I turned away and she was gone is the fifth solo work that she has developed under the banner of Mag...","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"33 1","pages":"52-66"},"PeriodicalIF":0.4,"publicationDate":"2020-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2020.1754896","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43128330","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 : 2020-04-01DOI: 10.1080/10137548.2020.1742780
S. Matchett, Rehane Abrahams
The article offers a pragmatic investigation that addresses translation both as an embodied activity of recalling erased memory and as a recuperation of the dis-membered post-slave/post-colonial fe...
{"title":"The application of a translational performance method using archival material, personal narrative, mythology and somatic practices: the making of Womb of Fire","authors":"S. Matchett, Rehane Abrahams","doi":"10.1080/10137548.2020.1742780","DOIUrl":"https://doi.org/10.1080/10137548.2020.1742780","url":null,"abstract":"The article offers a pragmatic investigation that addresses translation both as an embodied activity of recalling erased memory and as a recuperation of the dis-membered post-slave/post-colonial fe...","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"33 1","pages":"34-51"},"PeriodicalIF":0.4,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2020.1742780","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43649596","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 : 2020-03-23DOI: 10.1080/10137548.2020.1742781
Swati Arora
The essay discusses Maya Rao's Walk and The Mothertongue Project's Walk: South Africa to explore the languages of transnational and embodied feminist politics that these performances conjure. The t...
{"title":"Walk in India and South Africa: notes towards a decolonial and transnational feminist politics","authors":"Swati Arora","doi":"10.1080/10137548.2020.1742781","DOIUrl":"https://doi.org/10.1080/10137548.2020.1742781","url":null,"abstract":"The essay discusses Maya Rao's Walk and The Mothertongue Project's Walk: South Africa to explore the languages of transnational and embodied feminist politics that these performances conjure. The t...","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"33 1","pages":"14-33"},"PeriodicalIF":0.4,"publicationDate":"2020-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2020.1742781","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42370370","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 : 2020-01-02DOI: 10.1080/10137548.2020.1800906
S. Matchett, Mark Fleishman
{"title":"Translation and performance in an era of global asymmetries: Part 2","authors":"S. Matchett, Mark Fleishman","doi":"10.1080/10137548.2020.1800906","DOIUrl":"https://doi.org/10.1080/10137548.2020.1800906","url":null,"abstract":"","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"33 1","pages":"1-4"},"PeriodicalIF":0.4,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2020.1800906","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41452110","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 : 2020-01-02DOI: 10.1080/10137548.2020.1760126
S. Bala
The moment the concept of translation is employed with reference to theatre or music and performance, i.e., to a form that includes but exceeds language, the concept becomes detached from its conve...
一旦翻译的概念被用于戏剧或音乐和表演，即一种包括但超越语言的形式，这个概念就脱离了它的内涵……
{"title":"Necessary misapplications: the work of translation in performance in an era of global asymmetries","authors":"S. Bala","doi":"10.1080/10137548.2020.1760126","DOIUrl":"https://doi.org/10.1080/10137548.2020.1760126","url":null,"abstract":"The moment the concept of translation is employed with reference to theatre or music and performance, i.e., to a form that includes but exceeds language, the concept becomes detached from its conve...","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2020.1760126","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45774173","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 : 2019-09-02DOI: 10.1080/10137548.2018.1553627
V. Vermeulen, M. Taub
This paper centres on the definition of failure in a theatrical work. Failure is pursued as an epitome for possibilities, thus shifting the boundaries of theatrical work outside of conventional lines of understanding. The notion is to remove the fear of failure within a work, in order to explore new means through which a work can be produced. In this article, myself, the researcher, and my supervisor discuss the failures within my theatrical work, in order to re-imagine new possibilities in which the work can occur. Failure is seen as an opportunity, to not only draw on what it is that failed within a work, but to also build on that which has worked. The work itself centres on failure. It is thus a case where form and content mirror the possibilities through which an artwork can be reproduced. The article refers to notions of queerness when referring to failure. This queerness is also situated within the theories of Walter Benjamin. Failure becomes a historical construct, and becomes the key means through which to constantly reproduce the postcolonial effect. Here, the postcolonial refers to the failure of Colonialism, as well as the failure in progressing the self forward after breaking the actions put forth by Colonialism. The objective of this article is to move postcolonial texts forwards, to learn from the failures committed, and to reproduce postcolonialism as a transformative entity.
{"title":"Constructing Patience: postcolonial theatre as a possibility for redemption","authors":"V. Vermeulen, M. Taub","doi":"10.1080/10137548.2018.1553627","DOIUrl":"https://doi.org/10.1080/10137548.2018.1553627","url":null,"abstract":"This paper centres on the definition of failure in a theatrical work. Failure is pursued as an epitome for possibilities, thus shifting the boundaries of theatrical work outside of conventional lines of understanding. The notion is to remove the fear of failure within a work, in order to explore new means through which a work can be produced. In this article, myself, the researcher, and my supervisor discuss the failures within my theatrical work, in order to re-imagine new possibilities in which the work can occur. Failure is seen as an opportunity, to not only draw on what it is that failed within a work, but to also build on that which has worked. The work itself centres on failure. It is thus a case where form and content mirror the possibilities through which an artwork can be reproduced. The article refers to notions of queerness when referring to failure. This queerness is also situated within the theories of Walter Benjamin. Failure becomes a historical construct, and becomes the key means through which to constantly reproduce the postcolonial effect. Here, the postcolonial refers to the failure of Colonialism, as well as the failure in progressing the self forward after breaking the actions put forth by Colonialism. The objective of this article is to move postcolonial texts forwards, to learn from the failures committed, and to reproduce postcolonialism as a transformative entity.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"32 1","pages":"191 - 198"},"PeriodicalIF":0.4,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1553627","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44263997","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 : 2019-09-02DOI: 10.1080/10137548.2018.1555008
Madeleine Scherer
This article discusses Yaël Farber’s 2003 play Molora within the context of the South African Truth and Reconciliation Commission, which Farber consciously draws on through the play’s themes, characters, and narrative structure. At the same time, however, Molora is also an adaptation of Aeschylus’s Oresteia, with strong parallels established especially to the trial scene at the end of the trilogy’s final play, the Eumenides. In this article I analyse the relationship Farber establishes to both Aeschyus’s trilogy and ancient Greek staging conventions in general, while also discussing how she integrates the ancient Greek narrative into a South African post-Apartheid context. Thereby, particularly the parallels Farber draws between the establishment of the ancient Greek law-court, the Areopagus, with the South African TRC will be assessed, with a particular focus on issues of visualization, representation, performativity, and communal memory.
{"title":"‘Why do you need the dark if what you do is fair?’: staging death, violence, and the TRC in Yaël Farber’s Molora","authors":"Madeleine Scherer","doi":"10.1080/10137548.2018.1555008","DOIUrl":"https://doi.org/10.1080/10137548.2018.1555008","url":null,"abstract":"This article discusses Yaël Farber’s 2003 play Molora within the context of the South African Truth and Reconciliation Commission, which Farber consciously draws on through the play’s themes, characters, and narrative structure. At the same time, however, Molora is also an adaptation of Aeschylus’s Oresteia, with strong parallels established especially to the trial scene at the end of the trilogy’s final play, the Eumenides. In this article I analyse the relationship Farber establishes to both Aeschyus’s trilogy and ancient Greek staging conventions in general, while also discussing how she integrates the ancient Greek narrative into a South African post-Apartheid context. Thereby, particularly the parallels Farber draws between the establishment of the ancient Greek law-court, the Areopagus, with the South African TRC will be assessed, with a particular focus on issues of visualization, representation, performativity, and communal memory.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"32 1","pages":"215 - 234"},"PeriodicalIF":0.4,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1555008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44643263","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 : 2019-09-02DOI: 10.1080/10137548.2018.1505110
Ajumeze Henry Obi
{"title":"Spiders of the market: Ghanaian trickster performance in a web of neoliberalism","authors":"Ajumeze Henry Obi","doi":"10.1080/10137548.2018.1505110","DOIUrl":"https://doi.org/10.1080/10137548.2018.1505110","url":null,"abstract":"","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"36 1","pages":"332 - 335"},"PeriodicalIF":0.4,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1505110","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59763603","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}
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