Writing the aerial dancing body a preliminary choreological investigation of the aesthetics and kinetics of the aerial dancing body
- Authors: Acker, Shaun Albert
- Date: 2010
- Subjects: Dance -- 19th century Dance -- 20th century Dance -- 21st century Aerialists Movement, Aesthetics of Feminine beauty (Aesthetics) Movement notation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2129 , http://hdl.handle.net/10962/d1002361
- Description: This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.
- Full Text:
- Date Issued: 2010
- Authors: Acker, Shaun Albert
- Date: 2010
- Subjects: Dance -- 19th century Dance -- 20th century Dance -- 21st century Aerialists Movement, Aesthetics of Feminine beauty (Aesthetics) Movement notation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2129 , http://hdl.handle.net/10962/d1002361
- Description: This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.
- Full Text:
- Date Issued: 2010
Workshop theatre in post-apartheid South Africa : a case study
- Authors: Copteros, Athina
- Date: 2002
- Subjects: Theater -- South Africa , Theater -- Political aspects -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2156 , http://hdl.handle.net/10962/d1007477
- Description: This is a qualitative study exploring the use of workshop theatre in post-apartheid South Africa, with the objective of making a contribution to the knowledge-base regarding its use in current times. Workshop theatre is changing in response to a new socio-political reality and emerging trends in theatre practice. The case study, of developing a play on Oystercatchers with a Grahamstown group of artists, revealed the difficulties and challenges of using workshop theatre in this dynamic context. Data collection included a focus group, observation, reflective discussion and in-depth interviews that were analysed in relation to available literature on workshop theatre in apartheid and post-apartheid South Africa. It is proposed that workshop theatre has continued relevance in post -apartheid South Africa. The process of creating workshop theatre with diverse artists has great potential to transform relationships, address issues of personal identity and to provide an underlying purpose to a workshop theatre -making context.
- Full Text:
- Date Issued: 2002
- Authors: Copteros, Athina
- Date: 2002
- Subjects: Theater -- South Africa , Theater -- Political aspects -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2156 , http://hdl.handle.net/10962/d1007477
- Description: This is a qualitative study exploring the use of workshop theatre in post-apartheid South Africa, with the objective of making a contribution to the knowledge-base regarding its use in current times. Workshop theatre is changing in response to a new socio-political reality and emerging trends in theatre practice. The case study, of developing a play on Oystercatchers with a Grahamstown group of artists, revealed the difficulties and challenges of using workshop theatre in this dynamic context. Data collection included a focus group, observation, reflective discussion and in-depth interviews that were analysed in relation to available literature on workshop theatre in apartheid and post-apartheid South Africa. It is proposed that workshop theatre has continued relevance in post -apartheid South Africa. The process of creating workshop theatre with diverse artists has great potential to transform relationships, address issues of personal identity and to provide an underlying purpose to a workshop theatre -making context.
- Full Text:
- Date Issued: 2002
Towards the performer-creator in contemporary mime, with specific reference to the physical theatre of Andrew Buckland, 1988-2000
- Authors: Murray, Robert Ian
- Date: 2002
- Subjects: Buckland, Andrew , Mime , Mimes -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2158 , http://hdl.handle.net/10962/d1007720
- Description: Part one of this thesis investigates the conceptualisation of the performer-creator and its relevance in late twentieth century physical performance by examining some of the theoretical, but mainly artistic, traditions that suggest a movement towards this. Chapter one tackles the question of definition, linking mime within a wider physical theatre phenomenon. Chapter two looks at the importance of mime training for contemporary performance. This requires a focus on selected theatre practitioners who have significantly advanced the development of mime training and performance during the twentieth century. Chapter three examines the issue of silence in mime and questions a potential liberation of the word and language in contemporary performance and consequently how this affects the role of the performer, particularly in South Africa. Chapter four investigates the figure of the theatrical clown and how this late twentieth century development is playing an increasingly important role in contemporary performance. Chapter five then wraps up part one by pulling the preceding chapters together and thereby providing a working conceptualisation of the performer-creator, locating it within an overall appreciation of contemporary mime. Part two then tests the notion of the performer-creator by focussing on a case study through the investigation of Andrew Buckland to develop this idea. Andrew Buckland, and his work under the ethos of Mouthpeace from 1988-2000, provides a clear and unique example of this movement in contemporary South African performance. Trained as an actor and in classical illusion-based mime technique, as well as many dance forms such as ballet, contemporary and jazz, he has virtually single-handedly created and shaped a particular performance trend that is in line with contemporary international trends but retains a distinctive South African flavour. There is no space to attempt a definitive or exhaustive examination of his works, and nor is the intent to do so; rather, the aim is to draw from his work their essences that reveal his development as an artist: as both a creator and a performer.
- Full Text:
- Date Issued: 2002
- Authors: Murray, Robert Ian
- Date: 2002
- Subjects: Buckland, Andrew , Mime , Mimes -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2158 , http://hdl.handle.net/10962/d1007720
- Description: Part one of this thesis investigates the conceptualisation of the performer-creator and its relevance in late twentieth century physical performance by examining some of the theoretical, but mainly artistic, traditions that suggest a movement towards this. Chapter one tackles the question of definition, linking mime within a wider physical theatre phenomenon. Chapter two looks at the importance of mime training for contemporary performance. This requires a focus on selected theatre practitioners who have significantly advanced the development of mime training and performance during the twentieth century. Chapter three examines the issue of silence in mime and questions a potential liberation of the word and language in contemporary performance and consequently how this affects the role of the performer, particularly in South Africa. Chapter four investigates the figure of the theatrical clown and how this late twentieth century development is playing an increasingly important role in contemporary performance. Chapter five then wraps up part one by pulling the preceding chapters together and thereby providing a working conceptualisation of the performer-creator, locating it within an overall appreciation of contemporary mime. Part two then tests the notion of the performer-creator by focussing on a case study through the investigation of Andrew Buckland to develop this idea. Andrew Buckland, and his work under the ethos of Mouthpeace from 1988-2000, provides a clear and unique example of this movement in contemporary South African performance. Trained as an actor and in classical illusion-based mime technique, as well as many dance forms such as ballet, contemporary and jazz, he has virtually single-handedly created and shaped a particular performance trend that is in line with contemporary international trends but retains a distinctive South African flavour. There is no space to attempt a definitive or exhaustive examination of his works, and nor is the intent to do so; rather, the aim is to draw from his work their essences that reveal his development as an artist: as both a creator and a performer.
- Full Text:
- Date Issued: 2002
Towards a semiotic approach to dramatic texts for the purposes of staging as expounded in the analysis of an early Pinter play: The Dumb Waiter
- Authors: Thomas, Jeswinne Mary
- Date: 1999
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193203 , vital:45309
- Description: The aim of this thesis is to promote the dramatological approach, as opposed to a literary critical one, for the analysis of dramatic texts for the purposes of staging. The reason for such a promotion is that the dramatological approach upholds the integrity of the text in interpretation for the performance text by its detailed and semiotic analysis. The focus of such an approach is on the analysis of discourse, that is a micro-proairetic approach (illuminating the extralinguistic action and interaction gained from speech events and deixis), rather than a macro-proairetic approach (that is, plot and story-line) which a literary critical approach would take into consideration. In Chapter one the focus is on the justification for the dramatological approach as well as a review of prominent literary criticism to the playwright’s work (used as an example of dramatic text in this thesis). Rather than the promotion of ordinary literary theory in relation to the need for a performance methodology, explanation for their negation is offered here. Chapter two focuses on the actual methodology of the dramatological approach. In section one of this chapter, we find that basic to dramatological methodology is the linguistic function appropriate to the dramatic: that is the semantic, rhetorical and pragmatic principles of dramatic dialogue. In addition, we find that it is a formal and systematic approach which imposes restrictions on dualisms thereby upholding the integrity of the text. Moreover, that it focuses on the “performative-deictic” character (that is extralinguistic, kinesic and indexical orientations) of the dramatic text - analysis of which is crucial for the purposes of staging. In this way, the analysis of the interpersonal, interactional and contextual areas of dramatic texts is promoted. Thus section one offers an overview of the analytical criteria appropriate to such investigation in order to illuminate dramatic discourse. Section two offers a guide to the application of the methodology, utilizing an extraction of text. Central to the application is the formation of a preliminary analytical ‘grid’ from the range of criteria discussed in section one; that is, how these may be put together. A micro-segmentation of text is utilized to illustrate the application of the methodology. Chapter three offers an application of the methodology to a whole text, that is The Dumb Waiter. The results and benefits for the theatre practitioner of such application are directly illustrated in the deictic (that is section one) and proairetic (that is section two) segmentations of the text since what the text and discourse signify is illustrated in a detailed manner as opposed to paraphrase. That is, the interpersonal, contextual and interactional levels of the drama are defined. From this, typologies of discourse, character and interrelationships are drawn, as well as a creation of the dramatic world (that is section three) constructed as a result of the discourse, interrelationships and dramatic action. Finally the Conclusion offers an evaluation of the dramatological approach by applying it to a practical situation for the theatre practitioner (that is, director or actor). , Thesis (MA) -- Faculty of Humanities, Drama, 1999
- Full Text:
- Date Issued: 1999
- Authors: Thomas, Jeswinne Mary
- Date: 1999
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193203 , vital:45309
- Description: The aim of this thesis is to promote the dramatological approach, as opposed to a literary critical one, for the analysis of dramatic texts for the purposes of staging. The reason for such a promotion is that the dramatological approach upholds the integrity of the text in interpretation for the performance text by its detailed and semiotic analysis. The focus of such an approach is on the analysis of discourse, that is a micro-proairetic approach (illuminating the extralinguistic action and interaction gained from speech events and deixis), rather than a macro-proairetic approach (that is, plot and story-line) which a literary critical approach would take into consideration. In Chapter one the focus is on the justification for the dramatological approach as well as a review of prominent literary criticism to the playwright’s work (used as an example of dramatic text in this thesis). Rather than the promotion of ordinary literary theory in relation to the need for a performance methodology, explanation for their negation is offered here. Chapter two focuses on the actual methodology of the dramatological approach. In section one of this chapter, we find that basic to dramatological methodology is the linguistic function appropriate to the dramatic: that is the semantic, rhetorical and pragmatic principles of dramatic dialogue. In addition, we find that it is a formal and systematic approach which imposes restrictions on dualisms thereby upholding the integrity of the text. Moreover, that it focuses on the “performative-deictic” character (that is extralinguistic, kinesic and indexical orientations) of the dramatic text - analysis of which is crucial for the purposes of staging. In this way, the analysis of the interpersonal, interactional and contextual areas of dramatic texts is promoted. Thus section one offers an overview of the analytical criteria appropriate to such investigation in order to illuminate dramatic discourse. Section two offers a guide to the application of the methodology, utilizing an extraction of text. Central to the application is the formation of a preliminary analytical ‘grid’ from the range of criteria discussed in section one; that is, how these may be put together. A micro-segmentation of text is utilized to illustrate the application of the methodology. Chapter three offers an application of the methodology to a whole text, that is The Dumb Waiter. The results and benefits for the theatre practitioner of such application are directly illustrated in the deictic (that is section one) and proairetic (that is section two) segmentations of the text since what the text and discourse signify is illustrated in a detailed manner as opposed to paraphrase. That is, the interpersonal, contextual and interactional levels of the drama are defined. From this, typologies of discourse, character and interrelationships are drawn, as well as a creation of the dramatic world (that is section three) constructed as a result of the discourse, interrelationships and dramatic action. Finally the Conclusion offers an evaluation of the dramatological approach by applying it to a practical situation for the theatre practitioner (that is, director or actor). , Thesis (MA) -- Faculty of Humanities, Drama, 1999
- Full Text:
- Date Issued: 1999
Theatre voice as metaphor : the advocacy of a praxis based on the centrality of voice to performance
- Authors: Mills, Elizabeth
- Date: 2000
- Subjects: Voice , Voice culture , Acting
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2141 , http://hdl.handle.net/10962/d1002373 , Voice , Voice culture , Acting
- Description: This study proposes a view of theatre voice as central to performance. It proposes a shift in paradigm through the foregrounding of the function of theatre voice as one of the creative strands of the theatre matrix. The function of theatre voice becomes a theatrical function. Theatre is created in the voice and, therefore, any act of theatre should include conscious questions about the meanings that are, or can be evoked through the voice in theatre. A second thrust to this study is that theatre voice practice should be included in, and theatre voice practitioners should actively engage in, broader debates about theatre. Introduction: The idea that the voice in performance is the enactment of conscious theatrical choices is set up through the notion of the theatrical use of the voice. The introduction outlines the kinds of performance contexts in which a theatrical use of the voice takes shape. This includes an assessment of the degree to which the specific South African context of the writer is useful to questions about a theatrical use of the voice. The concepts which are central to such a view of theatre voice are expanded. These are: the theatrical agency of the actor, theatre voice, the theatrical use of the voice and praxis. Selected examples from local and other productions are offered to illustrate a range of interpretive possibilities open to the voice when considered, in the first instance, as performance. Chapter one: The actor’s relationship with voice is explored through the notion of actor agency. Historically, actors were theatrically empowered by a closer involvement with playwriting, staging, apprenticeship forms of actor training and theatre management. It is argued that the emergence of the director as a new theatrical agent has diminished this actor agency. On the other hand, the introduction of a realist acting methodology has given the actor autonomy of craft, empowering the actor in unprecedented ways. The theatrical agency of actors, directors and theatre voice practitioners is explored as influencing the status and the perception of theatre voice within theatre. The proposal of the centrality of voice to performance is dependent on the agency of actors, directors and theatre voice practitioners. Chapter two: It is argued that an Aristotelian Poetics of Voice has, under the influence of realism, developed into a “Poetics of the Self”. The paradigmatic shift proposed through a view of the voice as central to theatre, is explored through a post realist, intertextuality of voice. This includes a re-consideration of the contemporary theatre voice notion of the “natural” voice. Chapter three: Cicely Berry’s work, with particular reference to The Actor and his Text (1987), is analysed in terms of realism and the theatrical use of the voice. A second focus in the analysis of Berry’s work supports the argument that voice practitioners theorise positions for theatre voice even though their texts are practical and technically orientated. Berry’s work is singled out here because the contemporary practice of the Central School tradition is the generic tradition of South African English theatre voice practice. Chapter four: Strategies and constructs are proposed in support of the centrality of voice to the theatre. Ways of realising a theatrical use of the voice are also suggested. This is based on a shift in the way in which practitioners think about theatre voice. In the first instance, it is suggested that practitioners move beyond positions of polarity and actively embrace that which is contradictory in theatre and theatre voice practice. Secondly, a traditional hermeneutic understanding of the interpretation of voice is challenged. Thirdly, the use of metaphor which is pertinent to actors, directors and voice practitioners is explored as a means to vocal action. Concrete examples of the creative use of the voice, are provided through the sonic texts of Performance Writing. By way of conclusion, some ideas are offered about the issue of empowering the actor in a theatrical use of the voice. This study is intended to contribute to a theoretical and practical debate which will promote the argument for the centrality of voice to performance.
- Full Text:
- Date Issued: 2000
Theatre voice as metaphor : the advocacy of a praxis based on the centrality of voice to performance
- Authors: Mills, Elizabeth
- Date: 2000
- Subjects: Voice , Voice culture , Acting
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2141 , http://hdl.handle.net/10962/d1002373 , Voice , Voice culture , Acting
- Description: This study proposes a view of theatre voice as central to performance. It proposes a shift in paradigm through the foregrounding of the function of theatre voice as one of the creative strands of the theatre matrix. The function of theatre voice becomes a theatrical function. Theatre is created in the voice and, therefore, any act of theatre should include conscious questions about the meanings that are, or can be evoked through the voice in theatre. A second thrust to this study is that theatre voice practice should be included in, and theatre voice practitioners should actively engage in, broader debates about theatre. Introduction: The idea that the voice in performance is the enactment of conscious theatrical choices is set up through the notion of the theatrical use of the voice. The introduction outlines the kinds of performance contexts in which a theatrical use of the voice takes shape. This includes an assessment of the degree to which the specific South African context of the writer is useful to questions about a theatrical use of the voice. The concepts which are central to such a view of theatre voice are expanded. These are: the theatrical agency of the actor, theatre voice, the theatrical use of the voice and praxis. Selected examples from local and other productions are offered to illustrate a range of interpretive possibilities open to the voice when considered, in the first instance, as performance. Chapter one: The actor’s relationship with voice is explored through the notion of actor agency. Historically, actors were theatrically empowered by a closer involvement with playwriting, staging, apprenticeship forms of actor training and theatre management. It is argued that the emergence of the director as a new theatrical agent has diminished this actor agency. On the other hand, the introduction of a realist acting methodology has given the actor autonomy of craft, empowering the actor in unprecedented ways. The theatrical agency of actors, directors and theatre voice practitioners is explored as influencing the status and the perception of theatre voice within theatre. The proposal of the centrality of voice to performance is dependent on the agency of actors, directors and theatre voice practitioners. Chapter two: It is argued that an Aristotelian Poetics of Voice has, under the influence of realism, developed into a “Poetics of the Self”. The paradigmatic shift proposed through a view of the voice as central to theatre, is explored through a post realist, intertextuality of voice. This includes a re-consideration of the contemporary theatre voice notion of the “natural” voice. Chapter three: Cicely Berry’s work, with particular reference to The Actor and his Text (1987), is analysed in terms of realism and the theatrical use of the voice. A second focus in the analysis of Berry’s work supports the argument that voice practitioners theorise positions for theatre voice even though their texts are practical and technically orientated. Berry’s work is singled out here because the contemporary practice of the Central School tradition is the generic tradition of South African English theatre voice practice. Chapter four: Strategies and constructs are proposed in support of the centrality of voice to the theatre. Ways of realising a theatrical use of the voice are also suggested. This is based on a shift in the way in which practitioners think about theatre voice. In the first instance, it is suggested that practitioners move beyond positions of polarity and actively embrace that which is contradictory in theatre and theatre voice practice. Secondly, a traditional hermeneutic understanding of the interpretation of voice is challenged. Thirdly, the use of metaphor which is pertinent to actors, directors and voice practitioners is explored as a means to vocal action. Concrete examples of the creative use of the voice, are provided through the sonic texts of Performance Writing. By way of conclusion, some ideas are offered about the issue of empowering the actor in a theatrical use of the voice. This study is intended to contribute to a theoretical and practical debate which will promote the argument for the centrality of voice to performance.
- Full Text:
- Date Issued: 2000
Theatre and science, with specific reference to Shelagh Stephenson's An experiment with an air pump (1999)
- Authors: Van Niekerk, Dion
- Date: 2002
- Subjects: Science in literature , Stephenson, Shelagh -- Experiment with an air pump
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2152 , http://hdl.handle.net/10962/d1004270
- Description: Science has featured intermittently as the subject of theatrical texts since Thomas Shadwell first represented the Renaissance scientist in The Virtuoso (1676). The late twentieth century, however, saw an incremental growth in theatre's interest in scientific exploration, a growth concommitant with the vast impact that science has had on technology, warfare and the machinations of political power. The tensions generated by the disjuncture between the rationality of science and the unpredictability of human society have provided a rich source of material for theatrical investigation into the human experience. The purpose of this thesis is twofold: to reveal some of the thematic concerns that emerge in this genre, and to examine the interplay between theatre and science. Shelagh Stephenson's An Experiment with an Air Pump (1999) provides a useful point of focus for this inquiry. By parallelling two time periods, exposing the scientific objectification of women and, in addition, opening up contemporary ethics for negotiation with the audience, Stephenson calls into question the objectivity and certainty of history, gender and ethical conduct. These she presents as dynamic and evolving fields of discourse that contribute to, but do not solely constitute, knowledge and understanding of the world. An Experiment with an Air Pump also displays an awareness, through its metatheatricality, of theatre itself as an imaginative, subjective discourse which parallels the more intuitive and personal aspects of scientific exploration. The play functions as a microscope, bringing into focus a contemporary world in which traditional systems of understanding and knowledge need to be reassessed and reinvented.
- Full Text:
- Date Issued: 2002
- Authors: Van Niekerk, Dion
- Date: 2002
- Subjects: Science in literature , Stephenson, Shelagh -- Experiment with an air pump
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2152 , http://hdl.handle.net/10962/d1004270
- Description: Science has featured intermittently as the subject of theatrical texts since Thomas Shadwell first represented the Renaissance scientist in The Virtuoso (1676). The late twentieth century, however, saw an incremental growth in theatre's interest in scientific exploration, a growth concommitant with the vast impact that science has had on technology, warfare and the machinations of political power. The tensions generated by the disjuncture between the rationality of science and the unpredictability of human society have provided a rich source of material for theatrical investigation into the human experience. The purpose of this thesis is twofold: to reveal some of the thematic concerns that emerge in this genre, and to examine the interplay between theatre and science. Shelagh Stephenson's An Experiment with an Air Pump (1999) provides a useful point of focus for this inquiry. By parallelling two time periods, exposing the scientific objectification of women and, in addition, opening up contemporary ethics for negotiation with the audience, Stephenson calls into question the objectivity and certainty of history, gender and ethical conduct. These she presents as dynamic and evolving fields of discourse that contribute to, but do not solely constitute, knowledge and understanding of the world. An Experiment with an Air Pump also displays an awareness, through its metatheatricality, of theatre itself as an imaginative, subjective discourse which parallels the more intuitive and personal aspects of scientific exploration. The play functions as a microscope, bringing into focus a contemporary world in which traditional systems of understanding and knowledge need to be reassessed and reinvented.
- Full Text:
- Date Issued: 2002
The representation of women in the plays of Sam Shepard
- Authors: Volks, Carolyn Dana
- Date: 1994
- Subjects: Shepard, Sam, 1943- -- Characters -- Women , Shepard, Sam, 1943- -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2151 , http://hdl.handle.net/10962/d1002383 , Shepard, Sam, 1943- -- Characters -- Women , Shepard, Sam, 1943- -- Criticism and interpretation
- Description: In the endeavour to abolish from society all forms of ideologies that prescribe the domination of one sex over another, it has become increasingly important to analyse the representation of women in dramatic literature because dramatic literature reflects the philosophies and codes of behaviour which enable individuals to dominate one another in society, and assists in either reinforcing old ideologies or shaping new ones. Although Sam Shepard has been an influential force in the creation of modern drama, his plays reflect a patriarchal ideology that dictates that women are subordinate to men. Shepard's plays dramatise various male predicaments and his female characters are constructed and utilised to express men's experience, not women's. One of the conflicts which besets the male characters is that they desire to return to the womb of the mother, but simultaneously fear that their identities will be engulfed by the mother. In The Rock Garden, Red Cross and Fourteen Hundred Thousand, these desires and fears are demonstrated through the female characters, who are manipulated to represent objects of male desire and/or objects onto which devouring images are projected. Women are therefore represented in a manner in which they are best able to express the male characters' identity related conflicts. In Curse of the Starving Class and Buried Child, characters suffer from receiving insufficient nurture, are spiritually and emotionally impoverished or cursed and appear unable to transform their lives. The female characters are presented as being partly responsible for causing these predicaments since their nurturing, generative and transformative abilities are presented in a negative light. Women are also represented as objects of blame in the male characters' attempts and failures to undergo rebirths and are once again created to express male predicaments. In Fool for Love and A Lie of the Mind, Shepard focuses on the relationships between men and women, but is only able to present the male characters' perspectives and represent male desire. The female characters are regarded, and engaged with, as reflections of the male characters' selves and are frequently utilised to express male desire. If Shepard's plays are persistently applauded and seen as examples to be emulated, we need to closely analyse these dramas that represent women in a manner which expresses male predicaments and which places them in roles that allow men to dominate them.
- Full Text:
- Date Issued: 1994
- Authors: Volks, Carolyn Dana
- Date: 1994
- Subjects: Shepard, Sam, 1943- -- Characters -- Women , Shepard, Sam, 1943- -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2151 , http://hdl.handle.net/10962/d1002383 , Shepard, Sam, 1943- -- Characters -- Women , Shepard, Sam, 1943- -- Criticism and interpretation
- Description: In the endeavour to abolish from society all forms of ideologies that prescribe the domination of one sex over another, it has become increasingly important to analyse the representation of women in dramatic literature because dramatic literature reflects the philosophies and codes of behaviour which enable individuals to dominate one another in society, and assists in either reinforcing old ideologies or shaping new ones. Although Sam Shepard has been an influential force in the creation of modern drama, his plays reflect a patriarchal ideology that dictates that women are subordinate to men. Shepard's plays dramatise various male predicaments and his female characters are constructed and utilised to express men's experience, not women's. One of the conflicts which besets the male characters is that they desire to return to the womb of the mother, but simultaneously fear that their identities will be engulfed by the mother. In The Rock Garden, Red Cross and Fourteen Hundred Thousand, these desires and fears are demonstrated through the female characters, who are manipulated to represent objects of male desire and/or objects onto which devouring images are projected. Women are therefore represented in a manner in which they are best able to express the male characters' identity related conflicts. In Curse of the Starving Class and Buried Child, characters suffer from receiving insufficient nurture, are spiritually and emotionally impoverished or cursed and appear unable to transform their lives. The female characters are presented as being partly responsible for causing these predicaments since their nurturing, generative and transformative abilities are presented in a negative light. Women are also represented as objects of blame in the male characters' attempts and failures to undergo rebirths and are once again created to express male predicaments. In Fool for Love and A Lie of the Mind, Shepard focuses on the relationships between men and women, but is only able to present the male characters' perspectives and represent male desire. The female characters are regarded, and engaged with, as reflections of the male characters' selves and are frequently utilised to express male desire. If Shepard's plays are persistently applauded and seen as examples to be emulated, we need to closely analyse these dramas that represent women in a manner which expresses male predicaments and which places them in roles that allow men to dominate them.
- Full Text:
- Date Issued: 1994
The politics and poetics of choreography the dancing body in South African dance
- Authors: Finestone, Juanita
- Date: 1995
- Subjects: Dance -- South Africa , Gordon, Gary -- Unspeakable Story , Orlin, Robyn -- In A Corner The Sky Surrenders
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2138 , http://hdl.handle.net/10962/d1002370 , Dance -- South Africa , Gordon, Gary -- Unspeakable Story , Orlin, Robyn -- In A Corner The Sky Surrenders
- Description: This mini-thesis is situated in the discourse on patriarchy, nationhood and its artistic forms. It is argued that an uncritical pursuit of commonality as a political aesthetic strategy for dance in South Africa repeats the metaphysical foundationalism of this discourse. It is further suggested that a postmodern ethos subverts this heritage, while at the same time offering a viable alternative for accommodating and representing the cultural diversity and plurality characteristic of current theatre dance in South Africa. Chapter One examines the way dance has historically structured its patriarchal form the postmodern discourses Chapter Two as a site and practice through explores the potential of deconstruction and destabilisation of this dance heritage. This chapter also assesses the relevance of a postmodern alternative in a South African dance context. Chapter Three analyses the postmodern choreographic strategies of two South African choreographers, Gary Gordon and Robyn Orlin, in order to reveal how their dance vision to patriarchal aesthetic form and offers an uncritical alternative notions of commonality. In conclusion, it is argued postmodern ethos embodied in the work that the of these choreographers provides viable directions for formulating and articulating new dance directions for theatre dance in South Africa while, at the same time, bearing witness to the diversity that will always structure expressions of commonality in South African dance.
- Full Text:
- Date Issued: 1995
- Authors: Finestone, Juanita
- Date: 1995
- Subjects: Dance -- South Africa , Gordon, Gary -- Unspeakable Story , Orlin, Robyn -- In A Corner The Sky Surrenders
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2138 , http://hdl.handle.net/10962/d1002370 , Dance -- South Africa , Gordon, Gary -- Unspeakable Story , Orlin, Robyn -- In A Corner The Sky Surrenders
- Description: This mini-thesis is situated in the discourse on patriarchy, nationhood and its artistic forms. It is argued that an uncritical pursuit of commonality as a political aesthetic strategy for dance in South Africa repeats the metaphysical foundationalism of this discourse. It is further suggested that a postmodern ethos subverts this heritage, while at the same time offering a viable alternative for accommodating and representing the cultural diversity and plurality characteristic of current theatre dance in South Africa. Chapter One examines the way dance has historically structured its patriarchal form the postmodern discourses Chapter Two as a site and practice through explores the potential of deconstruction and destabilisation of this dance heritage. This chapter also assesses the relevance of a postmodern alternative in a South African dance context. Chapter Three analyses the postmodern choreographic strategies of two South African choreographers, Gary Gordon and Robyn Orlin, in order to reveal how their dance vision to patriarchal aesthetic form and offers an uncritical alternative notions of commonality. In conclusion, it is argued postmodern ethos embodied in the work that the of these choreographers provides viable directions for formulating and articulating new dance directions for theatre dance in South Africa while, at the same time, bearing witness to the diversity that will always structure expressions of commonality in South African dance.
- Full Text:
- Date Issued: 1995
The political promise of choreography in performance and/as research: First Physical Theatre Company’s manifesto and repertory, 1993-2015
- Authors: Finestone-Praeg, Juanita
- Date: 2020
- Subjects: Choreography -- Political aspects , Dance -- South Africa -- Makhanda , Dance -- Political aspects , Performance art -- South Africa -- Makhanda , Performance art -- History and criticism , Performance art -- Research , Performance art -- Study and teaching , Performance art -- Philosophy , Experimental theater -- South Africa -- Makhanda , Experimental theater -- History and criticism , Political art -- South Africa -- Makhanda , First Physical Theatre Company , First Physical Theatre Company -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/149373 , vital:38844
- Description: This study redefines the political in dance by drawing on the scholarly concept of the “choreopolitical” (André Lepecki) and extending it into analysing related concepts such as the “postdramatic” (Hans-Thies Lehmann), performance and/as research, among others from Performance Studies scholarship as well as from First Physical Theatre Company’s pioneering legacy of production, pedagogy and research in making Phyical Theatre performance. Following from the notion that performance is both a site and a method of study/knowing, the research invites a rethinking of the relationship between art (performance), epistemology and the political, in the sense that performance becomes a way, not of simply re-presenting the political but, as its own way of knowing, actively questioning the very categories on which the political is premised. The argument for Physical Theatre as having nascent potential to invoke what I call “the power of the small” is analysed as a choreopolitical method and community of practice that has a generative capacity to produce the “intimate revolts” (Julia Kristeva) or body of questions that can perform the imaginative curiosities/forms required to create provocative, subversive, ethical, reflexive and charged performance. My argument is supported by critical commentary, insight, choreological analysis and reflection on the dramaturgical strategies and choreopolitics of selected commissioned choreographers and dance forms that extended FPTC’s manifesto and production between 1993 and 2015. My project has the following three goals: (i) to contextualise, conceptualise and identify key issues in the identity, pedagogy and performance ethos of Physical Theatre as a performance philosophy and form; (ii) to engage critically with the praxis of Physical Theatre within the contextual, cultural, historical and political relationships between Physical Theatre and other performance practices in South Africa; and (iii) to document, analyse and interpret selected claims, works and performance processes from the archive of FPTC’s repertory and training manifesto from 1993 to 2015. The research evaluates the political significance and consequence of FPTC’s heritage and legacy problematising constraints, possibilities, tensions, failures and proposing the hope of imaginative entanglements with practising freedoms.
- Full Text:
- Date Issued: 2020
- Authors: Finestone-Praeg, Juanita
- Date: 2020
- Subjects: Choreography -- Political aspects , Dance -- South Africa -- Makhanda , Dance -- Political aspects , Performance art -- South Africa -- Makhanda , Performance art -- History and criticism , Performance art -- Research , Performance art -- Study and teaching , Performance art -- Philosophy , Experimental theater -- South Africa -- Makhanda , Experimental theater -- History and criticism , Political art -- South Africa -- Makhanda , First Physical Theatre Company , First Physical Theatre Company -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/149373 , vital:38844
- Description: This study redefines the political in dance by drawing on the scholarly concept of the “choreopolitical” (André Lepecki) and extending it into analysing related concepts such as the “postdramatic” (Hans-Thies Lehmann), performance and/as research, among others from Performance Studies scholarship as well as from First Physical Theatre Company’s pioneering legacy of production, pedagogy and research in making Phyical Theatre performance. Following from the notion that performance is both a site and a method of study/knowing, the research invites a rethinking of the relationship between art (performance), epistemology and the political, in the sense that performance becomes a way, not of simply re-presenting the political but, as its own way of knowing, actively questioning the very categories on which the political is premised. The argument for Physical Theatre as having nascent potential to invoke what I call “the power of the small” is analysed as a choreopolitical method and community of practice that has a generative capacity to produce the “intimate revolts” (Julia Kristeva) or body of questions that can perform the imaginative curiosities/forms required to create provocative, subversive, ethical, reflexive and charged performance. My argument is supported by critical commentary, insight, choreological analysis and reflection on the dramaturgical strategies and choreopolitics of selected commissioned choreographers and dance forms that extended FPTC’s manifesto and production between 1993 and 2015. My project has the following three goals: (i) to contextualise, conceptualise and identify key issues in the identity, pedagogy and performance ethos of Physical Theatre as a performance philosophy and form; (ii) to engage critically with the praxis of Physical Theatre within the contextual, cultural, historical and political relationships between Physical Theatre and other performance practices in South Africa; and (iii) to document, analyse and interpret selected claims, works and performance processes from the archive of FPTC’s repertory and training manifesto from 1993 to 2015. The research evaluates the political significance and consequence of FPTC’s heritage and legacy problematising constraints, possibilities, tensions, failures and proposing the hope of imaginative entanglements with practising freedoms.
- Full Text:
- Date Issued: 2020
The originating impulses of Ankoku Butoh: towards an understanding of the trans-cultural embodiment of Tatsumi Hijikata's dance of darkness
- Authors: Truter, Orlando Vincent
- Date: 2008
- Subjects: Hijikata, Tatsumi, 1928-1986 , Butō , Modern dance -- Japan , Dancers -- Japan , Choreographers
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2153 , http://hdl.handle.net/10962/d1004454
- Description: From Introduction: Ankoku Butoh is a performing art devised in Japan in the wake of the Second World War by the dancer and choreographer Tatsumi Hijikata (born Akita, 1928; died Tokyo, 1986). A highly aesthetic and subversive performing art, Butoh often evokes "images of decay, of fear and desperation, images of eroticism, ecstasy and stillness." Typically performed with a white layer of paint covering the entire body of the dancer, Butoh is visually characterized by continual transformations between postures, distorted physical and facial expressions, and an emphasis on condensed and visually slow movements. Some of the general characteristics of Butoh performance include "a particular openness to working with the subtle energy in the body; the malleability of time; the power of the grotesque."
- Full Text:
- Date Issued: 2008
- Authors: Truter, Orlando Vincent
- Date: 2008
- Subjects: Hijikata, Tatsumi, 1928-1986 , Butō , Modern dance -- Japan , Dancers -- Japan , Choreographers
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2153 , http://hdl.handle.net/10962/d1004454
- Description: From Introduction: Ankoku Butoh is a performing art devised in Japan in the wake of the Second World War by the dancer and choreographer Tatsumi Hijikata (born Akita, 1928; died Tokyo, 1986). A highly aesthetic and subversive performing art, Butoh often evokes "images of decay, of fear and desperation, images of eroticism, ecstasy and stillness." Typically performed with a white layer of paint covering the entire body of the dancer, Butoh is visually characterized by continual transformations between postures, distorted physical and facial expressions, and an emphasis on condensed and visually slow movements. Some of the general characteristics of Butoh performance include "a particular openness to working with the subtle energy in the body; the malleability of time; the power of the grotesque."
- Full Text:
- Date Issued: 2008
The notion of physicality in vocal training for the performer in South African theatre, with particular reference to the Alexander technique
- Authors: Cox, Frances Jayne
- Date: 1991
- Subjects: Voice culture , Alexander technique , Drama -- Study and teaching
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2134 , http://hdl.handle.net/10962/d1002366 , Voice culture , Alexander technique , Drama -- Study and teaching
- Description: Voice training has been influenced by separatist attitudes which have allowed for classes which train the body to be separate from those which train the voice. This study acknowledges that to train an actor in separate compartments and then expect the completeness of human expression in performance, is to train under false pretences. There is a need to address the imbalance of separatism and this is examined within the context of voice training. An holistic approach to voice training forms the basis of the argument, which focuses on the need to re-educate the notion of physicality in voice training. Chapter one proposes an understanding of the notion of physicality by drawing on the attitudes of selected theatre practitioners towards the physical nature of the theatre encounter. The expressive energies of the actor's body are responsible for the physicalisation of a play; for this reason the movement of voice and speech is not only examined as source movement, but also as the movement of an actor's response and communication. Chapter two examines some practices which led to attitudes of separatism in voice training, and introduces prevalent practices which are attempting to involve the energy of the physical experience. Chapter three proposes that the Alexander technique be used as the foundation for an awareness of individual physicality. Where chapter one examines the theory of this notion, chapter three proposes an experiential understanding of the same. The Alexander technique is a training in effective body use and it's principles are fundamental to an awareness of body use and functioning. It is argued that these principles should underlie a re-education of physicality. The final chapter of the thesis argues for physicality in South African voice training programmes which would complement the physicality of contemporary theatre forms. It is hoped that this study will provide further incentive for the continued review and adjustment of drama training in South Africa.
- Full Text:
- Date Issued: 1991
- Authors: Cox, Frances Jayne
- Date: 1991
- Subjects: Voice culture , Alexander technique , Drama -- Study and teaching
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2134 , http://hdl.handle.net/10962/d1002366 , Voice culture , Alexander technique , Drama -- Study and teaching
- Description: Voice training has been influenced by separatist attitudes which have allowed for classes which train the body to be separate from those which train the voice. This study acknowledges that to train an actor in separate compartments and then expect the completeness of human expression in performance, is to train under false pretences. There is a need to address the imbalance of separatism and this is examined within the context of voice training. An holistic approach to voice training forms the basis of the argument, which focuses on the need to re-educate the notion of physicality in voice training. Chapter one proposes an understanding of the notion of physicality by drawing on the attitudes of selected theatre practitioners towards the physical nature of the theatre encounter. The expressive energies of the actor's body are responsible for the physicalisation of a play; for this reason the movement of voice and speech is not only examined as source movement, but also as the movement of an actor's response and communication. Chapter two examines some practices which led to attitudes of separatism in voice training, and introduces prevalent practices which are attempting to involve the energy of the physical experience. Chapter three proposes that the Alexander technique be used as the foundation for an awareness of individual physicality. Where chapter one examines the theory of this notion, chapter three proposes an experiential understanding of the same. The Alexander technique is a training in effective body use and it's principles are fundamental to an awareness of body use and functioning. It is argued that these principles should underlie a re-education of physicality. The final chapter of the thesis argues for physicality in South African voice training programmes which would complement the physicality of contemporary theatre forms. It is hoped that this study will provide further incentive for the continued review and adjustment of drama training in South Africa.
- Full Text:
- Date Issued: 1991
The notion of commitment in selected works of Maishe Maponya
- Authors: Moorosi, Mabitle
- Date: 1998
- Subjects: Maponya, Maishe , Commitment (Psychology) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2142 , http://hdl.handle.net/10962/d1002374 , Maponya, Maishe , Commitment (Psychology) in literature
- Description: This study is a critical analysis of selected works of the playwright Maishe Maponya namely, The Hungry Earth, Jika and Gangsters. The main thrust of the analysis of the thesis is centred on questions around what 'Commitment' might mean in literature and drama. This concept has appeared in many names and guises. In theatre, it has assumed names like Theatre of Commitment, Theatre of the Dispossessed, Theatre ofthe Oppressed, Theatre of Resistance, as well as Theatre of Radicalization (Bentley 1968; Boal 1974; Mda 1985; Maponya 1992). These names came into existence as a result of a concerted effort to refrain from the use of the traditional conventional theatre, which does not appear to address itself to societal problems - the preoccupation of Theatre of Commitment. Chapter One is principally concerned with the concept of Commitment and its implications in art and literature, more specifically in theatre. Further, the following interacting elements in South African theatre are highlighted: censorship, banning, detention and other restrictions, as well as DET education and religious institutions. Finally, Maponya is introduced, with his political inclinations and his views on art, together with the issue of theatricality in his plays. Chapter two initiates the proposed critical analysis with a focus on The Hungry Earth. The focus is on Theatre of Commitment and the background events that inspired Maponya's response. Chapter three concerns itself with the critical analysis of Jika, "a play about the making of revolutionaries in South Africa ... and serves a political purpose - as a recording of pivotal moment in South African history ... " (Haysom, 1988: 1). An attempt is made to assess the extent to which the playwright has succeeded or failed to strike a chord harmonious with the pronouncements quoted. Chapter four ends the critical analysis with the treatment of Gangsters. Here an observation is made on the fusing of the three personas, namely Rasechaba, Biko and Maponya, into one symbolic whole representing the image of Jesus Christ on the cross - the Saviour who sacrificed His life for the salvation of sinners. Maponya is seen to have sacrificed his time and energy for the liberation of the downtrodden. The conclusion summarizes the study by placing the selected works in their suitable perspective in respect of the notion of Commitment in literature, with particular reference to theatre. Maponya is seen to have played a commendable role in the liberation of his peoples' minds by teaching them the business of organizing revolutions, as well as by championing the liberation struggle.
- Full Text:
- Date Issued: 1998
- Authors: Moorosi, Mabitle
- Date: 1998
- Subjects: Maponya, Maishe , Commitment (Psychology) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2142 , http://hdl.handle.net/10962/d1002374 , Maponya, Maishe , Commitment (Psychology) in literature
- Description: This study is a critical analysis of selected works of the playwright Maishe Maponya namely, The Hungry Earth, Jika and Gangsters. The main thrust of the analysis of the thesis is centred on questions around what 'Commitment' might mean in literature and drama. This concept has appeared in many names and guises. In theatre, it has assumed names like Theatre of Commitment, Theatre of the Dispossessed, Theatre ofthe Oppressed, Theatre of Resistance, as well as Theatre of Radicalization (Bentley 1968; Boal 1974; Mda 1985; Maponya 1992). These names came into existence as a result of a concerted effort to refrain from the use of the traditional conventional theatre, which does not appear to address itself to societal problems - the preoccupation of Theatre of Commitment. Chapter One is principally concerned with the concept of Commitment and its implications in art and literature, more specifically in theatre. Further, the following interacting elements in South African theatre are highlighted: censorship, banning, detention and other restrictions, as well as DET education and religious institutions. Finally, Maponya is introduced, with his political inclinations and his views on art, together with the issue of theatricality in his plays. Chapter two initiates the proposed critical analysis with a focus on The Hungry Earth. The focus is on Theatre of Commitment and the background events that inspired Maponya's response. Chapter three concerns itself with the critical analysis of Jika, "a play about the making of revolutionaries in South Africa ... and serves a political purpose - as a recording of pivotal moment in South African history ... " (Haysom, 1988: 1). An attempt is made to assess the extent to which the playwright has succeeded or failed to strike a chord harmonious with the pronouncements quoted. Chapter four ends the critical analysis with the treatment of Gangsters. Here an observation is made on the fusing of the three personas, namely Rasechaba, Biko and Maponya, into one symbolic whole representing the image of Jesus Christ on the cross - the Saviour who sacrificed His life for the salvation of sinners. Maponya is seen to have sacrificed his time and energy for the liberation of the downtrodden. The conclusion summarizes the study by placing the selected works in their suitable perspective in respect of the notion of Commitment in literature, with particular reference to theatre. Maponya is seen to have played a commendable role in the liberation of his peoples' minds by teaching them the business of organizing revolutions, as well as by championing the liberation struggle.
- Full Text:
- Date Issued: 1998
The dionysian in performance reclaiming the female transgressive performing body
- Authors: Solomon, Zanne
- Date: 2012
- Subjects: Dionysia , Feminism and theater , Human body in literature , Performance art , Performing arts , Body image in women , Self-perception in women , Human body -- Social aspects
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2148 , http://hdl.handle.net/10962/d1002380
- Description: In this thesis I investigate the theoretical or philosophical notion/archetype of the Dionysian in relation to the transgressive female body in performance. I do so through 1) an investigation into the theories behind the Dionysian and the transgressive; 2) an examination of the performative practice of the transgressive female body; and 3) a personal exploration of the theatrical practice. 1) In the first chapter I introduce and thoroughly explore the archetypal concept of the Dionysian, and identify its significance because of its intrinsic association with the transgressive. I associate it with its oppositional force, the Apollonian, which is similarly significant because it is through the Dionysian disruption of the Apollonian from which the very notion of the transgressive springs. Through a review of Camille Paglia's seminal text on the subject of the Dionysian¹, this chapter provides a historical, mythological and theoretical context for the schism between the two archetypal aesthetics, starting from the description of the mythology of the ancient Greek gods, Dionysus and Apollo, and unpacks the transgressive nature of the Dionysian. Drawing on concurring theories of Friedrich Nietzsche and Julia Kristeva, as well as Hans Thies-Lehmann's writings on post-dramatic theatre², Chapter One attempts to firmly establish the inherent link between the Dionysian and theatre and performance, as well as the Dionysian and the transgressive, and provide a thorough theoretical framework for the rest of the thesis. 2) The second chapter investigates the work of two female performance artists³ who (re)present⁴ their bodies as transgressive in performance, namely Marina Abramovic and Karen Finley. It critically examines specific performance works of theirs, and through this examination it explores how they (re)present their bodies as transgressive in performance, and why they do so. This chapter furthermore establishes the connection between the transgressive female performing body, as (re)presented by Abramovic and Finley, and the Dionysian. In so doing it explores how they negotiate this ancient aesthetic or practice in a contemporary performance context. I believe that these performance artists are in fact striving to celebrate and reclaim the Dionysian within their work, and I attempt to establish this within this chapter. 3) The third chapter of this thesis analyses my own practical exploration of the transgressive female body in performance in a piece entitled Bleeding Mermaid (2008). It examines this exploration in the context of the theory of the Dionysian, as well as investigating how and why I (re)presented my body as transgressive in the performance. The analysis furthermore questions how I understand my work on the (re)presentation of the transgressive female body in relation to, and within the context of, Finley and Abramovic's work on the same subject. Through this investigation, I aim to establish a link between the Dionysian and the transgressive female performing body; and investigate the motivation(s) behind the (re)presentation of the transgressive female body in performance. I hope to open up a pathway to the reclamation of the Dionysian, both in performance practice and research. ¹Paglia, Camille. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. England: Penguin Books, 1990. ²Lehmann, Hans-Thies. Postdramatic Theatre. Trans. and Intro. Karen Jürs-Munby. London and New York: Routledge, 2006. ³Performance Art began around the 1960s in Europe and America. It is performance with a sense of immediacy – in that it is hard to replicate as it interacts with each unique audience – it is thus effectively a fresh/new experience each time. It breaks the boundaries of traditional theatre (form, structure, venue, time etc) and is often shocking or provocative in nature. It mixed the aesthetics of theatre and art, often taking place in installation settings. Performance Art has developed and morphed throughout the years, and is also referred to as Live Art in Britain. A performance artist is someone who produces performance art. It is possible that Performance Art no longer exists/is possible because it no longer shocks or affects the audience. ⁴My use of the brackets in (re)presented/(re)present throughout this thesis is because I would like to make simultaneous reference to the words/connotations of "presentation" and "representation", without being bound to the connotations of illusion/falseness/non-reality as is associated with the word "representation" (in opposition to the concept of the "real"), and thus be left only with the one-dimensional approach/meaning of "presentation".
- Full Text:
- Date Issued: 2012
- Authors: Solomon, Zanne
- Date: 2012
- Subjects: Dionysia , Feminism and theater , Human body in literature , Performance art , Performing arts , Body image in women , Self-perception in women , Human body -- Social aspects
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2148 , http://hdl.handle.net/10962/d1002380
- Description: In this thesis I investigate the theoretical or philosophical notion/archetype of the Dionysian in relation to the transgressive female body in performance. I do so through 1) an investigation into the theories behind the Dionysian and the transgressive; 2) an examination of the performative practice of the transgressive female body; and 3) a personal exploration of the theatrical practice. 1) In the first chapter I introduce and thoroughly explore the archetypal concept of the Dionysian, and identify its significance because of its intrinsic association with the transgressive. I associate it with its oppositional force, the Apollonian, which is similarly significant because it is through the Dionysian disruption of the Apollonian from which the very notion of the transgressive springs. Through a review of Camille Paglia's seminal text on the subject of the Dionysian¹, this chapter provides a historical, mythological and theoretical context for the schism between the two archetypal aesthetics, starting from the description of the mythology of the ancient Greek gods, Dionysus and Apollo, and unpacks the transgressive nature of the Dionysian. Drawing on concurring theories of Friedrich Nietzsche and Julia Kristeva, as well as Hans Thies-Lehmann's writings on post-dramatic theatre², Chapter One attempts to firmly establish the inherent link between the Dionysian and theatre and performance, as well as the Dionysian and the transgressive, and provide a thorough theoretical framework for the rest of the thesis. 2) The second chapter investigates the work of two female performance artists³ who (re)present⁴ their bodies as transgressive in performance, namely Marina Abramovic and Karen Finley. It critically examines specific performance works of theirs, and through this examination it explores how they (re)present their bodies as transgressive in performance, and why they do so. This chapter furthermore establishes the connection between the transgressive female performing body, as (re)presented by Abramovic and Finley, and the Dionysian. In so doing it explores how they negotiate this ancient aesthetic or practice in a contemporary performance context. I believe that these performance artists are in fact striving to celebrate and reclaim the Dionysian within their work, and I attempt to establish this within this chapter. 3) The third chapter of this thesis analyses my own practical exploration of the transgressive female body in performance in a piece entitled Bleeding Mermaid (2008). It examines this exploration in the context of the theory of the Dionysian, as well as investigating how and why I (re)presented my body as transgressive in the performance. The analysis furthermore questions how I understand my work on the (re)presentation of the transgressive female body in relation to, and within the context of, Finley and Abramovic's work on the same subject. Through this investigation, I aim to establish a link between the Dionysian and the transgressive female performing body; and investigate the motivation(s) behind the (re)presentation of the transgressive female body in performance. I hope to open up a pathway to the reclamation of the Dionysian, both in performance practice and research. ¹Paglia, Camille. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. England: Penguin Books, 1990. ²Lehmann, Hans-Thies. Postdramatic Theatre. Trans. and Intro. Karen Jürs-Munby. London and New York: Routledge, 2006. ³Performance Art began around the 1960s in Europe and America. It is performance with a sense of immediacy – in that it is hard to replicate as it interacts with each unique audience – it is thus effectively a fresh/new experience each time. It breaks the boundaries of traditional theatre (form, structure, venue, time etc) and is often shocking or provocative in nature. It mixed the aesthetics of theatre and art, often taking place in installation settings. Performance Art has developed and morphed throughout the years, and is also referred to as Live Art in Britain. A performance artist is someone who produces performance art. It is possible that Performance Art no longer exists/is possible because it no longer shocks or affects the audience. ⁴My use of the brackets in (re)presented/(re)present throughout this thesis is because I would like to make simultaneous reference to the words/connotations of "presentation" and "representation", without being bound to the connotations of illusion/falseness/non-reality as is associated with the word "representation" (in opposition to the concept of the "real"), and thus be left only with the one-dimensional approach/meaning of "presentation".
- Full Text:
- Date Issued: 2012
The Dance Factory, Newtown, Johannesburg a site of resistance
- Authors: Ginslov, Jeannette
- Date: 1998
- Subjects: Dance factory , Dance -- Political aspects -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2139 , http://hdl.handle.net/10962/d1002371 , Dance factory , Dance -- Political aspects -- South Africa
- Description: This mini thesis proposes that the Dance Factory in Ne'Ntown, Johannesburg, is a site of resistance. Its source and motivation are the personal, artistic and socio-poIiticaI sites ofresistance to mainstream forms of dance with nationalistic tendencies and to dominant ideological hegemonies that enforced apartheid or nationalism. Therefore, these sites or resistance are examined prior to and after the democratisation of South African culture. An analysis of the dances choreographed in this period of transition and changing hegemonies reveal shifts of resistance. These are traced within the development of the Dance Factory. Chapter one explores the notion of resistance as a form of power and the notion of site, where the operations of power evoke resistance. Three sites of resistance within South African dance culture are identified and examined. These are the Dance Factory, the artistic site of dance and the site of the dancing body. The chapter reveals the development of these sites in a changed culture and notes a re-orientation of resistance within dance, namely Afro-fusion, and the subsequent development and emergence of 'alternative' sites of resistance. These reveal new expressionistic tendencies, body politics and the feminist strategies of 'new poetics' and 'ecriture feminine'. The codified mainstream forms of dance, subject to nationalistic strategies of dassicism and its inherent Iogocentricity are challenged and destabilised by the emergence of these altemative resistant forms of dance. Chapter two examines the artistic policies of the Nationalist Govemment, the African National Congress and the Dance Factory from 1983-1997. It notes the effects of the changes in the artistic policies on sites of resistance in dance, performed at the Dance Factory. The chapter desaibes the development of the Dance Factory, its policies of diversification as a strategy of resistance, its promotion of praxis, its resistance to nationalism and the ramifications thereof. It also explores the effects of a governmentalisation of culture and the role of the organic intellectual within the Dance Factory. An analysis of the alternative dance work 'Torso-Tongue" in chapter three furthers the argument that the Dance Factory maintains and encourages the changing sites of resistance in dance. This analysis demonstrates the resistant aspects of dance as discussed in chapter one and thereby confirms the aims and missions of the Dance Factory. The thesis examines the role of the Dance Factory as it develops, nurtures and responds to the shifts in resistance and changes in culture and dance. Most importantly the thesis exposes the resistance to and the effects of an imposition of a nationalistic ideology on dance. The resultant resistance to this form of domination is explored in dance within the site of the Dance Factory, thus supporting the premise that the Dance Factory is a site of resistance.
- Full Text:
- Date Issued: 1998
- Authors: Ginslov, Jeannette
- Date: 1998
- Subjects: Dance factory , Dance -- Political aspects -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2139 , http://hdl.handle.net/10962/d1002371 , Dance factory , Dance -- Political aspects -- South Africa
- Description: This mini thesis proposes that the Dance Factory in Ne'Ntown, Johannesburg, is a site of resistance. Its source and motivation are the personal, artistic and socio-poIiticaI sites ofresistance to mainstream forms of dance with nationalistic tendencies and to dominant ideological hegemonies that enforced apartheid or nationalism. Therefore, these sites or resistance are examined prior to and after the democratisation of South African culture. An analysis of the dances choreographed in this period of transition and changing hegemonies reveal shifts of resistance. These are traced within the development of the Dance Factory. Chapter one explores the notion of resistance as a form of power and the notion of site, where the operations of power evoke resistance. Three sites of resistance within South African dance culture are identified and examined. These are the Dance Factory, the artistic site of dance and the site of the dancing body. The chapter reveals the development of these sites in a changed culture and notes a re-orientation of resistance within dance, namely Afro-fusion, and the subsequent development and emergence of 'alternative' sites of resistance. These reveal new expressionistic tendencies, body politics and the feminist strategies of 'new poetics' and 'ecriture feminine'. The codified mainstream forms of dance, subject to nationalistic strategies of dassicism and its inherent Iogocentricity are challenged and destabilised by the emergence of these altemative resistant forms of dance. Chapter two examines the artistic policies of the Nationalist Govemment, the African National Congress and the Dance Factory from 1983-1997. It notes the effects of the changes in the artistic policies on sites of resistance in dance, performed at the Dance Factory. The chapter desaibes the development of the Dance Factory, its policies of diversification as a strategy of resistance, its promotion of praxis, its resistance to nationalism and the ramifications thereof. It also explores the effects of a governmentalisation of culture and the role of the organic intellectual within the Dance Factory. An analysis of the alternative dance work 'Torso-Tongue" in chapter three furthers the argument that the Dance Factory maintains and encourages the changing sites of resistance in dance. This analysis demonstrates the resistant aspects of dance as discussed in chapter one and thereby confirms the aims and missions of the Dance Factory. The thesis examines the role of the Dance Factory as it develops, nurtures and responds to the shifts in resistance and changes in culture and dance. Most importantly the thesis exposes the resistance to and the effects of an imposition of a nationalistic ideology on dance. The resultant resistance to this form of domination is explored in dance within the site of the Dance Factory, thus supporting the premise that the Dance Factory is a site of resistance.
- Full Text:
- Date Issued: 1998
The advent of the 'Festivore' an exploration of South African audience attendance in the performing arts at the National Arts Festival
- Authors: Antrobus, Richard Roy
- Date: 2010
- Subjects: Standard Bank National Arts Festival -- Economic aspects , Arts -- Economic aspects , Performing arts festivals -- Economic aspects -- South Africa -- Grahamstown , Arts -- South Africa -- Economic aspects , Arts -- South Africa -- Finance , Arts -- South Africa -- Political aspects , Arts audiences -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2130 , http://hdl.handle.net/10962/d1002362
- Description: In South Africa, the performing arts have contributed to enhancing national identity and distinctiveness despite coming up against weak legislation, policy and infrastructure to support their growth and proliferation (Fredericks, 2005: 9). Coupled with a decline in both government and consumer support and the contradictory disparity between valuing the arts and the funding of the arts, theatre companies can no longer rely on the comfort of external subsidies and financial support. In order to be economically viable and sustainable to ensure their survival, there is an increasing demand for theatre companies to look to novel ways of increasing audience demand for theatre and improving audience attendance. However, instead of risking artistic integrity and the performance product to satisfy the market, this research suggests that promotion and development of theatre at arts festivals provides a platform to access a wider theatre-going public, which therefore facilitates a change in the market focus toward appreciation of the product (production). It explores leading arguments pertaining to the attendance of arts and cultural events, namely, Peterson and Simkus (1992), later updated by Peterson‟s (2005)„omnivore-univore‟ argument. The argument purports cultural consumption as binary in nature: either significant and diverse or limited, if not absent altogether. Supported by a number of case-studies, including Chan and Goldthorpe (2005) and Montgomery and Robinson (2008) and Snowball et al. (2009), the investigation challenges Bourdieu‟s (1984) theory on cultural distinction as well as the homology and individualisation argument. In determining the factors that influence cultural taste and consumer behaviour, including motivators and inhibitors of attendance and a predominant emphasis on audience risk and information asymmetry, the research was placed in a local context, providing an overview of the socio-economic theatre environment in South Africa. It investigated the nature, structure and impact of local festivals (as events) in changing audience demand and theatre attendance. With specific reference to the South African National Arts Festival (NAF) the research notes the effects of Hauptfleisch‟s „eventification‟ phenomenon on univore attenders and therefore expands the omnivore-univore theory to include a new breed of attender: the “Festivore”. A case study explored the “Festivore” hypothesis through empirical research, surveys and face-to-face qualitative interviews and on-seat questionnaire responses by festival attenders. Personal interviews and communication was also carried out with leading experts in the field. The data was then analysed using SPSS 13 electronic statistical analysis programme to determine the socio-demographics and the factors that affect theatre attendance of existing, as well as potential target, theatre audiences at the National Arts Festival The study concluded that South African theatre attenders are generally omnivorous consumers and that, more importantly, there seems to be a shift towards „festivorous‟ consumption. Furthermore, evidence supports the development and proliferation of festivals as a means not only to support and promote the arts in South Africa but, more importantly, to generate new theatre audiences and entrench theatre attendance into South African culture.
- Full Text:
- Date Issued: 2010
- Authors: Antrobus, Richard Roy
- Date: 2010
- Subjects: Standard Bank National Arts Festival -- Economic aspects , Arts -- Economic aspects , Performing arts festivals -- Economic aspects -- South Africa -- Grahamstown , Arts -- South Africa -- Economic aspects , Arts -- South Africa -- Finance , Arts -- South Africa -- Political aspects , Arts audiences -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2130 , http://hdl.handle.net/10962/d1002362
- Description: In South Africa, the performing arts have contributed to enhancing national identity and distinctiveness despite coming up against weak legislation, policy and infrastructure to support their growth and proliferation (Fredericks, 2005: 9). Coupled with a decline in both government and consumer support and the contradictory disparity between valuing the arts and the funding of the arts, theatre companies can no longer rely on the comfort of external subsidies and financial support. In order to be economically viable and sustainable to ensure their survival, there is an increasing demand for theatre companies to look to novel ways of increasing audience demand for theatre and improving audience attendance. However, instead of risking artistic integrity and the performance product to satisfy the market, this research suggests that promotion and development of theatre at arts festivals provides a platform to access a wider theatre-going public, which therefore facilitates a change in the market focus toward appreciation of the product (production). It explores leading arguments pertaining to the attendance of arts and cultural events, namely, Peterson and Simkus (1992), later updated by Peterson‟s (2005)„omnivore-univore‟ argument. The argument purports cultural consumption as binary in nature: either significant and diverse or limited, if not absent altogether. Supported by a number of case-studies, including Chan and Goldthorpe (2005) and Montgomery and Robinson (2008) and Snowball et al. (2009), the investigation challenges Bourdieu‟s (1984) theory on cultural distinction as well as the homology and individualisation argument. In determining the factors that influence cultural taste and consumer behaviour, including motivators and inhibitors of attendance and a predominant emphasis on audience risk and information asymmetry, the research was placed in a local context, providing an overview of the socio-economic theatre environment in South Africa. It investigated the nature, structure and impact of local festivals (as events) in changing audience demand and theatre attendance. With specific reference to the South African National Arts Festival (NAF) the research notes the effects of Hauptfleisch‟s „eventification‟ phenomenon on univore attenders and therefore expands the omnivore-univore theory to include a new breed of attender: the “Festivore”. A case study explored the “Festivore” hypothesis through empirical research, surveys and face-to-face qualitative interviews and on-seat questionnaire responses by festival attenders. Personal interviews and communication was also carried out with leading experts in the field. The data was then analysed using SPSS 13 electronic statistical analysis programme to determine the socio-demographics and the factors that affect theatre attendance of existing, as well as potential target, theatre audiences at the National Arts Festival The study concluded that South African theatre attenders are generally omnivorous consumers and that, more importantly, there seems to be a shift towards „festivorous‟ consumption. Furthermore, evidence supports the development and proliferation of festivals as a means not only to support and promote the arts in South Africa but, more importantly, to generate new theatre audiences and entrench theatre attendance into South African culture.
- Full Text:
- Date Issued: 2010
Teacher-in-role as a problem-posing method for learners in a special needs school in South Africa
- Authors: Hellemann, Phemelo Cordelia
- Date: 2018
- Subjects: Special education -- Activity programs -- South Africa , Special education -- South Africa , Drama in education -- South Africa , Drama -- Therapeutic use -- South Africa , Children with mental disabilities -- Life skills guides , Kuyasa School (South Africa)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/62549 , vital:28205
- Description: Paulo Freire’s problem-posing pedagogy urges for a creative and collaborative educational environment between learners and teachers that encourages critical thinking and engagement. This research explores how special needs pedagogical approaches in South Africa can transform their classroom practices to embrace creative and collaborative teaching methods such as drama. Drama-in-education (D-i-E) is an area where the learner and teacher relationship is characterised by creativity and engagement. This qualitative study considers the uses of drama as a teaching and learning method for learners in the Skills Phase class at Kuyasa Special School, Grahamstown. The research aimed to provide learners with intellectual barriers to learning with access to D-i-E. This was done through a series of practical drama lessons, which broadly aimed to enhance life skills and work environment competencies such as communication, problem-solving and interpersonal relations. The lessons followed a cross- curricular approach that integrated aspects of the Life Orientation (Grade 10-12) curriculum and the Drama (Creative Arts Grade 7-9) curriculum. This practice-led study reflects on how Dorothy Heathcote’s teacher-in-role (t-i-r) drama technique was implemented to teach topics and themes extracted and adapted from the Life Orientation learning area. This drama-based pedagogy employs three elements of Freire’s problem-posing education model, which are learner-centred, problem-posing and liberated pedagogy. The study discusses how these elements manifested in the lessons conducted, and how this approach benefited and improved the learners’ critical thinking skills, self-esteem and confidence. This study therefore provides a broad understanding of the possibilities of a drama-based pedagogy within a South Africa context of learning disability, proposing an alternative pedagogical approach in South African special schools. The findings contribute to the academic literature on D-i-E in South Africa and advocate for the inclusion of learners with learning disabilities within the performing arts education.
- Full Text:
- Date Issued: 2018
- Authors: Hellemann, Phemelo Cordelia
- Date: 2018
- Subjects: Special education -- Activity programs -- South Africa , Special education -- South Africa , Drama in education -- South Africa , Drama -- Therapeutic use -- South Africa , Children with mental disabilities -- Life skills guides , Kuyasa School (South Africa)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/62549 , vital:28205
- Description: Paulo Freire’s problem-posing pedagogy urges for a creative and collaborative educational environment between learners and teachers that encourages critical thinking and engagement. This research explores how special needs pedagogical approaches in South Africa can transform their classroom practices to embrace creative and collaborative teaching methods such as drama. Drama-in-education (D-i-E) is an area where the learner and teacher relationship is characterised by creativity and engagement. This qualitative study considers the uses of drama as a teaching and learning method for learners in the Skills Phase class at Kuyasa Special School, Grahamstown. The research aimed to provide learners with intellectual barriers to learning with access to D-i-E. This was done through a series of practical drama lessons, which broadly aimed to enhance life skills and work environment competencies such as communication, problem-solving and interpersonal relations. The lessons followed a cross- curricular approach that integrated aspects of the Life Orientation (Grade 10-12) curriculum and the Drama (Creative Arts Grade 7-9) curriculum. This practice-led study reflects on how Dorothy Heathcote’s teacher-in-role (t-i-r) drama technique was implemented to teach topics and themes extracted and adapted from the Life Orientation learning area. This drama-based pedagogy employs three elements of Freire’s problem-posing education model, which are learner-centred, problem-posing and liberated pedagogy. The study discusses how these elements manifested in the lessons conducted, and how this approach benefited and improved the learners’ critical thinking skills, self-esteem and confidence. This study therefore provides a broad understanding of the possibilities of a drama-based pedagogy within a South Africa context of learning disability, proposing an alternative pedagogical approach in South African special schools. The findings contribute to the academic literature on D-i-E in South Africa and advocate for the inclusion of learners with learning disabilities within the performing arts education.
- Full Text:
- Date Issued: 2018
Stepping into history : biography as approaches to contemporary South African choreography with specific reference to Bessie's Head (2000) and Miss Thandi (2002)
- Snyman, Johannes Hendrik Bailey
- Authors: Snyman, Johannes Hendrik Bailey
- Date: 2003
- Subjects: Head, Bessie, 1937-1986 , Maqoma, Gregory -- Miss Thandi , Derrida, Jacques -- Criticism and interpretation , Biography , Choreography -- South Africa -- History
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2154 , http://hdl.handle.net/10962/d1004678
- Description: This mini-thesis is located in historical discursive practices, choreographing history, biography as a source for making dance in South Africa and choreographic transformations in South African choreography since the 1994 democratic elections. Derridian concepts of deconstruction will be referenced in an attempt to focus the argument of this research, which comments on choreographic transformations since 1994, by subverting the influence of the 'violent hierarchies' enforced by the apartheid regime on South African cultural life and choreographic identity. The researcher draws on these considerations in order to explore the hybrid nature of South African choreography that has emerged since 1994. Chapter one examines the fallacious nature of historical discourse through a consideration and application of Derrida's notions of deconstruction and fabrication. Chapter two explores the notion of choreographing history in theatre through a focus on the objective/subjective fallacy and the history of the body as a textual medium. Chapter three focuses the study specifically in biography as a discourse within the idea of theatre. This approach to biography can be encapsulated by the phrase 'telling lives'. This chapter also explores the relationship between the traditional binaries of writing as a purely cerebral act and choreography as a purely visceral experience. Chapter four brings the focus to the specific post-apartheid South African context. This chapter considers the hybrid forms of dance emerging in South Africa as well as the notion of protest in relation to theatre and dance. The final chapter is an investigation and analysis of two choreographic works created by South African choreographers since 1994 in relation to biography and concepts of deconstruction. These works are Gary Gordon's Bessie's Head (2000) and Gregory Maqoma's Miss Thandi (2002). The focus of the analysis also reveals the inherent difficulty in objective interpretation, and considers the problematics of collaboration and autobiography when choreographing within a biographical context.
- Full Text:
- Date Issued: 2003
- Authors: Snyman, Johannes Hendrik Bailey
- Date: 2003
- Subjects: Head, Bessie, 1937-1986 , Maqoma, Gregory -- Miss Thandi , Derrida, Jacques -- Criticism and interpretation , Biography , Choreography -- South Africa -- History
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2154 , http://hdl.handle.net/10962/d1004678
- Description: This mini-thesis is located in historical discursive practices, choreographing history, biography as a source for making dance in South Africa and choreographic transformations in South African choreography since the 1994 democratic elections. Derridian concepts of deconstruction will be referenced in an attempt to focus the argument of this research, which comments on choreographic transformations since 1994, by subverting the influence of the 'violent hierarchies' enforced by the apartheid regime on South African cultural life and choreographic identity. The researcher draws on these considerations in order to explore the hybrid nature of South African choreography that has emerged since 1994. Chapter one examines the fallacious nature of historical discourse through a consideration and application of Derrida's notions of deconstruction and fabrication. Chapter two explores the notion of choreographing history in theatre through a focus on the objective/subjective fallacy and the history of the body as a textual medium. Chapter three focuses the study specifically in biography as a discourse within the idea of theatre. This approach to biography can be encapsulated by the phrase 'telling lives'. This chapter also explores the relationship between the traditional binaries of writing as a purely cerebral act and choreography as a purely visceral experience. Chapter four brings the focus to the specific post-apartheid South African context. This chapter considers the hybrid forms of dance emerging in South Africa as well as the notion of protest in relation to theatre and dance. The final chapter is an investigation and analysis of two choreographic works created by South African choreographers since 1994 in relation to biography and concepts of deconstruction. These works are Gary Gordon's Bessie's Head (2000) and Gregory Maqoma's Miss Thandi (2002). The focus of the analysis also reveals the inherent difficulty in objective interpretation, and considers the problematics of collaboration and autobiography when choreographing within a biographical context.
- Full Text:
- Date Issued: 2003
Staged authenticities an exploration of the representations of AmaXhosa culture within the main programme of the National Arts Festival, 2009
- Reeve, Zoë Rose Louise Patricia
- Authors: Reeve, Zoë Rose Louise Patricia
- Date: 2011
- Subjects: Standard Bank National Arts Festival Performing arts festivals -- South Africa -- Grahamstown Xhosa (African people) -- Music -- Social aspects Performing arts festivals -- Social aspects -- South Africa -- Grahamstown Cultural property -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2146 , http://hdl.handle.net/10962/d1002378
- Description: This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms. , This thesis consists of three parts (1 pdf document and two video mp4 files)
- Full Text:
- Date Issued: 2011
- Authors: Reeve, Zoë Rose Louise Patricia
- Date: 2011
- Subjects: Standard Bank National Arts Festival Performing arts festivals -- South Africa -- Grahamstown Xhosa (African people) -- Music -- Social aspects Performing arts festivals -- Social aspects -- South Africa -- Grahamstown Cultural property -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2146 , http://hdl.handle.net/10962/d1002378
- Description: This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms. , This thesis consists of three parts (1 pdf document and two video mp4 files)
- Full Text:
- Date Issued: 2011
Some aspects of play production in the English and parallel medium secondary schools of the Eastern Cape 1822-1977
- Dickerson, Mary Elizabeth Henderson
- Authors: Dickerson, Mary Elizabeth Henderson
- Date: 1980
- Subjects: Drama -- Study and teaching (Secondary)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: vital:2127 , http://hdl.handle.net/10962/d1002029
- Description: There has been very little research into play production in schools, as distinct from drama in education and theatre in education, and none at all with specific attention to the Eastern Cape. The proliferation of dramatic productions in the schools of the Eastern Cape during the 1960s and 1970s coincided with the establishment at Rhodes University of a Department of Speech and Drama. The particular interest of this Department in the educational aspects of dramatic work of all kinds led naturally to a desire to investigate what was being done, and had been done, in the schools in the area. Added to this, interest in the history of the Eastern Cape has been stimulated by the building of the 1820 Settlers' Monument, which was opened in 1974, to mark the hundred and fiftieth anniversary of the arrival of the British Settlers. In order to set the social and political scene for the beginnings of cultural activity in the schools, I have given a brief account of the historical events leading up to the English settlement in the Eastern Cape. Because the evolution of the towns has affected that of the schools, an account of this development has been included¹. To prevent this work from becoming unwieldy, the detailed investigation of the cultural milieu has been limited to that of two frontier towns and two seaports, as being the most representative in the Eastern Cape². So much that was done in the schools had grown out of the ideas brought from Britain and its public schools that it was necessary also to look at the basis upon which the schools in the Eastern Cape were founded, and the lines along which their ethos developed. To facilitate a consideration of the work done in play production and related activities over a period of approximately a hundred and fifty years, I have separated the account into four natural historical divisions: from 1820 until the turn of the century; 1900 to 1918; the period between the two world wars; and that which follows the Second World War. Of these, the first three have been considered from the historical point of view; but with regard to the years between 1940 and 1977 it seemed more interesting and profitable to examine specific trends and developments in dramatic activity within the schools. I wished, further, to find more detailed information about what is happening in the schools at present than could be gathered from school magazines and the local press. For this purpose, two questionnaires were sent to the schools. The evaluation of these will be found in Part III and in Appendix B. The investigation was confined to the English and parallel medium schools in the area. The catalogue of plays produced since 1860 which is given in Appendix E is not necessarily exhaustive, though as comprehensive as it was possible to make it. It has been drawn up from the information in school archives and the press, as well as that given in the answers to the questionnaires, but there are occasions when these sources do not give titles of plays (this is especially the case with one-act plays) and there are also times when productions may not have been reported, or magazines are missing. It is not the purpose of this thesis to give details of the best production procedures. Teacher-directors may find these in many excellent books on the subject, some of which have been suggested in Appendix F. ¹While not strictly part of the subject under investigation, a consideration of musical activity is relevant to developments in drama . A short section on music has therefore also been included in Appendix A. ²My researches have pointed to the fact that there is an interesting field for further investigation in the smaller towns such as Cathcart and Uitenhage. (Pref. p. ii-iii)
- Full Text:
- Date Issued: 1980
- Authors: Dickerson, Mary Elizabeth Henderson
- Date: 1980
- Subjects: Drama -- Study and teaching (Secondary)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: vital:2127 , http://hdl.handle.net/10962/d1002029
- Description: There has been very little research into play production in schools, as distinct from drama in education and theatre in education, and none at all with specific attention to the Eastern Cape. The proliferation of dramatic productions in the schools of the Eastern Cape during the 1960s and 1970s coincided with the establishment at Rhodes University of a Department of Speech and Drama. The particular interest of this Department in the educational aspects of dramatic work of all kinds led naturally to a desire to investigate what was being done, and had been done, in the schools in the area. Added to this, interest in the history of the Eastern Cape has been stimulated by the building of the 1820 Settlers' Monument, which was opened in 1974, to mark the hundred and fiftieth anniversary of the arrival of the British Settlers. In order to set the social and political scene for the beginnings of cultural activity in the schools, I have given a brief account of the historical events leading up to the English settlement in the Eastern Cape. Because the evolution of the towns has affected that of the schools, an account of this development has been included¹. To prevent this work from becoming unwieldy, the detailed investigation of the cultural milieu has been limited to that of two frontier towns and two seaports, as being the most representative in the Eastern Cape². So much that was done in the schools had grown out of the ideas brought from Britain and its public schools that it was necessary also to look at the basis upon which the schools in the Eastern Cape were founded, and the lines along which their ethos developed. To facilitate a consideration of the work done in play production and related activities over a period of approximately a hundred and fifty years, I have separated the account into four natural historical divisions: from 1820 until the turn of the century; 1900 to 1918; the period between the two world wars; and that which follows the Second World War. Of these, the first three have been considered from the historical point of view; but with regard to the years between 1940 and 1977 it seemed more interesting and profitable to examine specific trends and developments in dramatic activity within the schools. I wished, further, to find more detailed information about what is happening in the schools at present than could be gathered from school magazines and the local press. For this purpose, two questionnaires were sent to the schools. The evaluation of these will be found in Part III and in Appendix B. The investigation was confined to the English and parallel medium schools in the area. The catalogue of plays produced since 1860 which is given in Appendix E is not necessarily exhaustive, though as comprehensive as it was possible to make it. It has been drawn up from the information in school archives and the press, as well as that given in the answers to the questionnaires, but there are occasions when these sources do not give titles of plays (this is especially the case with one-act plays) and there are also times when productions may not have been reported, or magazines are missing. It is not the purpose of this thesis to give details of the best production procedures. Teacher-directors may find these in many excellent books on the subject, some of which have been suggested in Appendix F. ¹While not strictly part of the subject under investigation, a consideration of musical activity is relevant to developments in drama . A short section on music has therefore also been included in Appendix A. ²My researches have pointed to the fact that there is an interesting field for further investigation in the smaller towns such as Cathcart and Uitenhage. (Pref. p. ii-iii)
- Full Text:
- Date Issued: 1980
Shifting identities: An exploration of the possibilities for a syncretic Afrikaans theatre by means of three case studies – Hex (2003), Lady Anne (2007), Ekspedisies (2008)
- Authors: Gehring, Heike
- Date: 2016
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2165 , http://hdl.handle.net/10962/d1021269
- Description: This thesis investigates the possibilities for syncretic Afrikaans language theatre within a post-1994 South African society. The research sets out to explore in what manner theatre can be language-specific, while at the same time being able to cross language contexts. This exploration is driven by the wish to develop strategies for creating Afrikaans theatre that is able to reflect on a society “united in diversity”. In this regard it is argued that for theatre to be able to both retain and cross language barriers, processes of bonding and bridging are necessary. The thesis sets out first to explain why these processes are required and then to suggest ways in which such processes can be implemented in practice. A triangular approach is used, in which conceptual and theoretical frameworks are developed to reflect on actual theatre practices. Three of my own productions are used as case studies, namely Hex (2000; 2003), Lady Anne (2007) and Ekspedisies (2008). These productions can be understood to be “boundary objects” in Henk Borgdorff’s (2012: 177) sense of the word, in that they fulfil a dual function: they are artistic productions that can also be reconstituted to serve a research purpose beyond the productions themselves. All three works were first created for public consumption before becoming cases for this thesis. Many of the strategies that were developed and tested in creating these productions are examples of ways in which bonding and bridging in Afrikaans language theatre can be understood. Chapter One of the thesis contextualises the political currents and events that necessitated the impulse towards “bonding and bridging”. In this case the political and ethical impetus behind the practical explorations has been related predominantly to the democratisation of South African society, in which a paradigm shift happened from viewing the Afrikaans language as one over many to one amongst many. Within a multilingual South Africa, concerns are raised about ways in which to create theatre in South African languages other than English (often understood to be the only possible bridging language) that are able to cross language divides. Following this introduction to language-related concerns, Chapter Two explains how the shift from apartheid to democracy made space for shifts in identity – on personal as well as institutional levels: a progression from essentialised notions of culture to the celebration of plurality. This progression is then related to theatre, with an explanation of how the post-1994 theatre landscape demanded a reimagining of the form and function of theatre. In this re-imagination the notion of a “third space” is important; something that is introduced in this chapter as an alternative to polarised identity constructions. The function of the “third space” as an in-between space and a meeting point for diverse people and entities is a strong underlying theme of this thesis and it serves as a reoccurring touchstone to the ideas put forward. Chapter Three discusses the South African arts festival culture and its contribution to the South African theatre landscape. Particular focus is placed on the Klein Karoo National Arts festival (KKNK) as a platform for the development of the Afrikaans language within a post-1994 context. What is emphasized in particular is the attempt by the KKNK festival to be linguistically and culturally exploratory and inclusive in the face of language protectionism. After the contextual background of the first three chapters, the thesis shifts to an analysis of theories related to “hybridity” and “syncretism”. In Chapter Four the argument is put forward that of the various inclusive performance and theatre models that represent a multicultural society, the most responsive forms are those that are syncretic and hybrid. Principles that can contribute to the unification and merging of diverse and polarized societal groups are described, and suggestions are made for possible ways to bring about bonding and bridging within cultural practices. Having introduced these principles, examples are offered of how these theories might be understood in other disciplines, namely, religious studies, anthropology, history and a range of cultural practices. Following this broad discussion, Chapter Five describes syncretism and hybridity more specifically in theatre by means of relevant examples. Taking the discussion further into the realm of application, Chapter Six offers an overview of “workshop theatre”, “translation” and “collage making” as strategies for putting theories of hybridity and syncretism into practice. This is followed (in Chapters Seven, Eight and Nine) by a discussion of the three productions (Hex, Lady Anne and Ekspedisies) as case studies that demonstrate how these theories can be understood in practice. Practical strategies for bridging language divides are foregrounded, such as code switching as an approach for enabling a “co-habitation” of languages; physical theatre as a means for crossing language divides; and the creation of more than one language version of a production as a tactic to accommodate shifting contexts. Following on from the discoveries made in the foregoing chapters, I conclude that theories and practices related to notions of “third space”, “hybridity” and “syncretism” are ideal for creating theatre forms (in the Afrikaans language in particular) that can truly reflect a South African society which is “united in diversity”. The thesis ends by offering suggestions for ways in which new, future identities, can be developed.
- Full Text:
- Date Issued: 2016
- Authors: Gehring, Heike
- Date: 2016
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2165 , http://hdl.handle.net/10962/d1021269
- Description: This thesis investigates the possibilities for syncretic Afrikaans language theatre within a post-1994 South African society. The research sets out to explore in what manner theatre can be language-specific, while at the same time being able to cross language contexts. This exploration is driven by the wish to develop strategies for creating Afrikaans theatre that is able to reflect on a society “united in diversity”. In this regard it is argued that for theatre to be able to both retain and cross language barriers, processes of bonding and bridging are necessary. The thesis sets out first to explain why these processes are required and then to suggest ways in which such processes can be implemented in practice. A triangular approach is used, in which conceptual and theoretical frameworks are developed to reflect on actual theatre practices. Three of my own productions are used as case studies, namely Hex (2000; 2003), Lady Anne (2007) and Ekspedisies (2008). These productions can be understood to be “boundary objects” in Henk Borgdorff’s (2012: 177) sense of the word, in that they fulfil a dual function: they are artistic productions that can also be reconstituted to serve a research purpose beyond the productions themselves. All three works were first created for public consumption before becoming cases for this thesis. Many of the strategies that were developed and tested in creating these productions are examples of ways in which bonding and bridging in Afrikaans language theatre can be understood. Chapter One of the thesis contextualises the political currents and events that necessitated the impulse towards “bonding and bridging”. In this case the political and ethical impetus behind the practical explorations has been related predominantly to the democratisation of South African society, in which a paradigm shift happened from viewing the Afrikaans language as one over many to one amongst many. Within a multilingual South Africa, concerns are raised about ways in which to create theatre in South African languages other than English (often understood to be the only possible bridging language) that are able to cross language divides. Following this introduction to language-related concerns, Chapter Two explains how the shift from apartheid to democracy made space for shifts in identity – on personal as well as institutional levels: a progression from essentialised notions of culture to the celebration of plurality. This progression is then related to theatre, with an explanation of how the post-1994 theatre landscape demanded a reimagining of the form and function of theatre. In this re-imagination the notion of a “third space” is important; something that is introduced in this chapter as an alternative to polarised identity constructions. The function of the “third space” as an in-between space and a meeting point for diverse people and entities is a strong underlying theme of this thesis and it serves as a reoccurring touchstone to the ideas put forward. Chapter Three discusses the South African arts festival culture and its contribution to the South African theatre landscape. Particular focus is placed on the Klein Karoo National Arts festival (KKNK) as a platform for the development of the Afrikaans language within a post-1994 context. What is emphasized in particular is the attempt by the KKNK festival to be linguistically and culturally exploratory and inclusive in the face of language protectionism. After the contextual background of the first three chapters, the thesis shifts to an analysis of theories related to “hybridity” and “syncretism”. In Chapter Four the argument is put forward that of the various inclusive performance and theatre models that represent a multicultural society, the most responsive forms are those that are syncretic and hybrid. Principles that can contribute to the unification and merging of diverse and polarized societal groups are described, and suggestions are made for possible ways to bring about bonding and bridging within cultural practices. Having introduced these principles, examples are offered of how these theories might be understood in other disciplines, namely, religious studies, anthropology, history and a range of cultural practices. Following this broad discussion, Chapter Five describes syncretism and hybridity more specifically in theatre by means of relevant examples. Taking the discussion further into the realm of application, Chapter Six offers an overview of “workshop theatre”, “translation” and “collage making” as strategies for putting theories of hybridity and syncretism into practice. This is followed (in Chapters Seven, Eight and Nine) by a discussion of the three productions (Hex, Lady Anne and Ekspedisies) as case studies that demonstrate how these theories can be understood in practice. Practical strategies for bridging language divides are foregrounded, such as code switching as an approach for enabling a “co-habitation” of languages; physical theatre as a means for crossing language divides; and the creation of more than one language version of a production as a tactic to accommodate shifting contexts. Following on from the discoveries made in the foregoing chapters, I conclude that theories and practices related to notions of “third space”, “hybridity” and “syncretism” are ideal for creating theatre forms (in the Afrikaans language in particular) that can truly reflect a South African society which is “united in diversity”. The thesis ends by offering suggestions for ways in which new, future identities, can be developed.
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- Date Issued: 2016