Pub Date : 2019-05-04DOI: 10.1080/10137548.2019.1624604
A. Gerber
This article explores the process of constructing visual metaphor for a youth verbatim theatre production within the South African, Afrikaans school context. The process of verbatim theatre creation within this context is explored, with examples from both the process and the production Wag, ek kry gou my foon [en soos sulke goed] (2017). The article further examines the aesthetic and thematic applications of visual metaphor and argues that visual metaphor can be used to circumvent problems or restrictions that arise in the data collection phase of the verbatim theatre process. These range from the context wherein the production is created, the length of the production, and especially ethical boundaries, including the responsibility of the verbatim theatre maker to represent both the subjects and material at the intersection between verisimilitude and contextual restrictions The article examines scenes from the production to conclude that visual metaphor can enrich the verbal aspect of the verbatim research to expand, replace or comment on the content generated and explored during the data collection phase.
本文探讨了在南非南非荷兰语学校背景下，为青年逐字逐句戏剧作品构建视觉隐喻的过程。本文探讨了在这种背景下逐字逐句的戏剧创作过程，并举例说明了该过程和制作Wag，ek kry gou my foon[en soos sulke goed]（2017）。文章进一步探讨了视觉隐喻的美学和主题应用，并认为视觉隐喻可以用来规避逐字逐句戏剧过程中数据收集阶段出现的问题或限制。这些范围从生产的背景、生产的长度，尤其是道德界限，包括逐字逐句制作者在逼真性和语境限制之间的交叉点上表现主体和材料的责任。文章考察了作品中的场景，得出结论认为视觉隐喻可以丰富逐字逐句研究的语言方面，替换或评论在数据收集阶段期间生成和探索的内容。
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Pub Date : 2019-05-04DOI: 10.1080/10137548.2019.1676571
A. Hofer
{"title":"Contemporary plays by African women","authors":"A. Hofer","doi":"10.1080/10137548.2019.1676571","DOIUrl":"https://doi.org/10.1080/10137548.2019.1676571","url":null,"abstract":"","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2019.1676571","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42458507","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 : 2019-05-04DOI: 10.1080/10137548.2019.1625284
Zoettje Hofmeyr
Selected exercises on language and sound by voice teacher Cicely Berry were used to develop and explore a sound-based approach to directing the play Sorrows and Rejoicings by Athol Fugard. Berry’s various strategies grounded the practical exploration of and improvisation on the poem Tristia by Ovid, and made possible a more open approach to the play; within the realism of the language a poetic and heightened quality led to a deep exploration of the characters and their emotional and physical landscapes. Berry’s exercises potentially offer a valuable and alternative approach towards conceptualizing a directing approach for both classic and modern texts.
{"title":"Unlocking the text: an exploration of key exercises by Cicely Berry to find a sound-based directing concept for Athol Fugard’s play Sorrows and Rejoicings","authors":"Zoettje Hofmeyr","doi":"10.1080/10137548.2019.1625284","DOIUrl":"https://doi.org/10.1080/10137548.2019.1625284","url":null,"abstract":"Selected exercises on language and sound by voice teacher Cicely Berry were used to develop and explore a sound-based approach to directing the play Sorrows and Rejoicings by Athol Fugard. Berry’s various strategies grounded the practical exploration of and improvisation on the poem Tristia by Ovid, and made possible a more open approach to the play; within the realism of the language a poetic and heightened quality led to a deep exploration of the characters and their emotional and physical landscapes. Berry’s exercises potentially offer a valuable and alternative approach towards conceptualizing a directing approach for both classic and modern texts.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2019.1625284","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44089800","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 : 2019-02-22DOI: 10.1080/10137548.2018.1562960
Karina Lemmer, M. Munro
This article tackles the issue of working in theatrical performance across multiple languages. More specifically, it documents and theorizes explorations conducted to attempt to bridge potential interpretation and communication disjunctures that might arise as actors who have a specific first language (L1) work in performance in a second/other language to which they have semantic/literal access but might not have the nuanced, multivalent and embodied access that is required to ‘present text in performance convincingly’ from their L2 situation [An argument can be made that when L1 texts are presented by L2 speakers to other L2 speakers, the problem falls away. For the purposes of this article, the emphasis is placed on presenting the L1 text as it might have been envisaged (noting the problems around such a stance).]. Such a multicultural/multilingual situation is prevalent in the South African tertiary training classroom, where it is usual to find that only a small minority have L1 access to English (for example) – the language of instruction. The article, therefore attempts ways of bridging this L1 (first language)/L2 (performance language) divide in training using the notion of prosody as the bridging strategy. Although our explorations worked with English, it is posited that the L1/L2 divide occurs in many societies, and therefore our conclusions and suggests we extrapolate would be of assistance in those domains, too.
{"title":"The L1–L2 tension in performance: towards prosodic explorations to facilitate intent","authors":"Karina Lemmer, M. Munro","doi":"10.1080/10137548.2018.1562960","DOIUrl":"https://doi.org/10.1080/10137548.2018.1562960","url":null,"abstract":"This article tackles the issue of working in theatrical performance across multiple languages. More specifically, it documents and theorizes explorations conducted to attempt to bridge potential interpretation and communication disjunctures that might arise as actors who have a specific first language (L1) work in performance in a second/other language to which they have semantic/literal access but might not have the nuanced, multivalent and embodied access that is required to ‘present text in performance convincingly’ from their L2 situation [An argument can be made that when L1 texts are presented by L2 speakers to other L2 speakers, the problem falls away. For the purposes of this article, the emphasis is placed on presenting the L1 text as it might have been envisaged (noting the problems around such a stance).]. Such a multicultural/multilingual situation is prevalent in the South African tertiary training classroom, where it is usual to find that only a small minority have L1 access to English (for example) – the language of instruction. The article, therefore attempts ways of bridging this L1 (first language)/L2 (performance language) divide in training using the notion of prosody as the bridging strategy. Although our explorations worked with English, it is posited that the L1/L2 divide occurs in many societies, and therefore our conclusions and suggests we extrapolate would be of assistance in those domains, too.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1562960","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42025495","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 : 2019-01-14DOI: 10.1080/10137548.2018.1560974
S. Jenkins
Authenticity in Contemporary Theatre and Performance explores the re-emerging desire for ‘real’ and authentic experience/s in theatre and performance in a time when people are ‘craving’ truth that ...
{"title":"Authenticity in contemporary theatre and performance: make it real","authors":"S. Jenkins","doi":"10.1080/10137548.2018.1560974","DOIUrl":"https://doi.org/10.1080/10137548.2018.1560974","url":null,"abstract":"Authenticity in Contemporary Theatre and Performance explores the re-emerging desire for ‘real’ and authentic experience/s in theatre and performance in a time when people are ‘craving’ truth that ...","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-01-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1560974","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41929776","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 : 2019-01-11DOI: 10.1080/10137548.2018.1560972
S. Matchett
{"title":"Performing the remembered present: the cognition of memory in dance, theatre and music","authors":"S. Matchett","doi":"10.1080/10137548.2018.1560972","DOIUrl":"https://doi.org/10.1080/10137548.2018.1560972","url":null,"abstract":"","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1560972","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44168539","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 : 2019-01-07DOI: 10.1080/10137548.2018.1552190
N. Chivandikwa, Ruth Makumbirofa, I. Muwati
Traditional/indigenous children’s games are yet to be appreciated as sites of critical engagement. The limited available literature on traditional children’s games is mainly focused on the deployment of traditional games in the teaching of conventional curriculum subjects. On the other hand, applied theatre projects appear to mainly rely on ‘foreign’ games. Curiously, there seems to be bias towards theatre games from North America, South America and Western Europe. We concede that, to an extent, the deployment of foreign games has revolutionized and radicalized applied theatre practice in Zimbabwe. However, there is hardly any serious scholarship that examines implications of infusing traditional children’s games within gender and disability discourse for child-centred development. This article addresses the extent to which applied theatre practitioners may appropriate traditional children’s games in the quest to deploy theatre as a site of critical engagement against pervasive hegemonies such as masculinity, neo-colonialism and ableism that may impede on human-/child-centred development. Drawing from Africana Womanism and Critical Disability Theory, we argue that although currently few applied theatre practitioners are deploying traditional children’s games, there is scope for appropriating and contextualizing traditional games in subverting imposed ableist and gendered hegemonies. Applied theatre projects can offer space to recover the rich intangible heritage that is embodied in traditional games. Having established that indigenous African children’s games affirm the material body in general, we recognize the potential of applied theatre contexts to act as sites of taping from the wisdom of the past in order to invent the future in which Africa/Zimbabwean children are proud of their bodily realities as centres of human growth and self-construction.
{"title":"Traditional games and child-centred development: affirming disabled and female bodies in applied theatre projects in Zimbabwe","authors":"N. Chivandikwa, Ruth Makumbirofa, I. Muwati","doi":"10.1080/10137548.2018.1552190","DOIUrl":"https://doi.org/10.1080/10137548.2018.1552190","url":null,"abstract":"Traditional/indigenous children’s games are yet to be appreciated as sites of critical engagement. The limited available literature on traditional children’s games is mainly focused on the deployment of traditional games in the teaching of conventional curriculum subjects. On the other hand, applied theatre projects appear to mainly rely on ‘foreign’ games. Curiously, there seems to be bias towards theatre games from North America, South America and Western Europe. We concede that, to an extent, the deployment of foreign games has revolutionized and radicalized applied theatre practice in Zimbabwe. However, there is hardly any serious scholarship that examines implications of infusing traditional children’s games within gender and disability discourse for child-centred development. This article addresses the extent to which applied theatre practitioners may appropriate traditional children’s games in the quest to deploy theatre as a site of critical engagement against pervasive hegemonies such as masculinity, neo-colonialism and ableism that may impede on human-/child-centred development. Drawing from Africana Womanism and Critical Disability Theory, we argue that although currently few applied theatre practitioners are deploying traditional children’s games, there is scope for appropriating and contextualizing traditional games in subverting imposed ableist and gendered hegemonies. Applied theatre projects can offer space to recover the rich intangible heritage that is embodied in traditional games. Having established that indigenous African children’s games affirm the material body in general, we recognize the potential of applied theatre contexts to act as sites of taping from the wisdom of the past in order to invent the future in which Africa/Zimbabwean children are proud of their bodily realities as centres of human growth and self-construction.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2019-01-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2018.1552190","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47832208","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 : 2019-01-07DOI: 10.1080/10137548.2018.1552189
R. Lenz, K. Moloi
In Statements After an Arrest Under the Immorality Act (first performed in 1972), Athol Fugard portrays the dilemma of human existence when an iniquitous state system and insular society impose restrictions on individual thought and freedom. Fugard’s dramatis personae show themselves not to be defeated by their predicament, but overcome devastating conditions and emerge as the designers of their own destinies when they establish social connections with others and make the choice to interpret their experiential world differently. Although other authors have depicted the plight of human beings surrounded by an all-encompassing, eternal futility, who, through self-awareness and courage, re-establish their humanity, make sense of their existences and discover their identity and potential, the existentialist theme of courage, perseverance and dignity in the face of despair has not been fully explored in a study of Fugard’s Statements After an Arrest Under the Immorality Act. The drama will be critically analysed in terms of the concepts of choice and change in relation to time, and the creation of identity and meaning in the face of a degrading and dehumanizing social milieu, in particular South Africa’s previous political system of racial qualification and categorization.
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