“Access to rather than ownership of”: South African theatre history and theory at a crossroad

Hutchison, Yvette

doi:10.1080/10137548.1996.9687646

Cited by 5 publications

(2 citation statements)

References 7 publications

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“…They too are a "tribe" protecting a culture and a language. (Hutchison 2003) Connection to the land and sense of belonging notwithstanding, daily life in South Africa includes constant appraisal not only of issues of citizenship and the right to be somewhere, but also entails surviving in that place, living with violence that is pervasive and lethal. I spoke with people from a range of communities who had traveled to Europe or North America and all expressed shock at the level of safety they perceived outside Africa.…”

Section: Charles Tertiens and Candice Van Litsenborgh Inmentioning

confidence: 99%

Somewhere, Over the Rainbow: White-Female-Canadian Dramaturge in Cape Town

Rudakoff¹

2004

TDR/The Drama Review

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In post-apartheid South Africa, economic inequity between the races, street violence, rivalries between the African National Congress and the Inkatha Freedom Party, and the AIDS pandemic continue to vex the nation. In this context, the larger narratives of apartheid and colonialism are joined by personal narratives of individual discovery. The result is theatre that is finding new forms, performance situations, and audiences.

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Section: Charles Tertiens and Candice Van Litsenborgh Inmentioning

confidence: 99%

Somewhere, Over the Rainbow: White-Female-Canadian Dramaturge in Cape Town

Rudakoff¹

2004

TDR/The Drama Review

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“…It was not scripted. The actors were given roles as opposed to characters (Hutchison, 1996). It was made in community.…”

Section: Conclusion Onclusionmentioning

confidence: 99%

Song as a Register for Black Feminist Theatre-Making Aesthetic

Lepere

2021

Voices

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This article looks at the play, Dipina tsa Monyanyako, which was made with a group of domestic workers in South Africa. The article explores how song is used as a strategy to locate ways of creating and making in South Africa. Song therefore registers a historical way of imagining and how marginalised groups; women have written themselves into history. The production is a creative conversation where song is used to express care and anger in everyday life. Current approaches to knowledge production are inadequate in capturing song, poetics, and interpreting the forms of performances black women engage. The article makes a case for song as a form of black feminist theatre-making aesthetic. Using Dipina tsa Monyanyako, I argue that songs, silence, sighs have important methodological implications for arts-based processes and research. In post-apartheid South Africa, performances are characterized by constant aesthetic reinvention. From precolonial expressions of life to protest theatre, performance aesthetics have been a way of revealing everyday life and struggles. For black women, theatre becomes the meeting place of the expression of their lives and a space of reflection and analysis of those lives, even though, historically, the presence of black women in theatre has been minimal. The creation of Dipina tsa Monyanyako allowed for the emergence of women as empowered subjects, and song became a portal for collective transformation.

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Mulat‐estetiek: ‘n analise van Adam Small se dramas

Wyk

2004

Journal of Literary Studies

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Mulatte vat nie "top-down" nie. (Small 1993: 11) [T]he third is dedicated to purifying the language of the tribe, and it is he who is jumped on by both sides for pretentiousness or playing white. He is the mulatto of style. (Walcott 1970: 9) Opsomming In hierdie artikel word die dramakonvensies van Adam Small ondersoek met besondere aandag aan perspektiewe op die mulat as 'n sosiale gegewe. Hierdie element bied 'n gepaste invalshoek omdat dit enersyds 'n verskynsel is wat Small in sy dramas en ander skryfwerk aansny en daar andersyds 'n uitgebreide literatuur bestaan waarin oor die dramatiese, lewensbeskoulike en literer-teoretiese inkleding daarvan besin word. Die werk van onder andere Langston Hughes en Derek Walcott word ondersoek om 'n leesstrategie te ontwikkel waarmee die Small-teks geanaliseer kan word. SummaryThis article examines the drama strategies of Adam Small and specifically focusses on the phenomenon of the mulat. This element provides a suitable perspective because on the one hand it is something that Small touches on in his dramas and other writing and on the other hand there exists an extensive literature which explores the dramatic, philosophical and literary theoretical meaning of the term. The work of Langston Hughes and Derek Walcott, amongst others, is explored to develop a reading strategy that could be used to analyse the Small text. InleidingDie term mulat is ingeweef in die geskiedenis van wetenskaplike rassisme in die negentiende eeu. 1 Simplisties gestel, verwys dit na die afstammeling van 'n wit pa en 'n Negerma. Die betekenisse wat rondom hierdie biologiese feitelikheid gegenereer word, is egter uitgebreid en ambivalensie omgewe die term. Enersyds het dit die allure van bloedvermenging, skande en buiteegtelikheid en andersyds besit dit positiewe waarde omdat die mulat 'n beter sosiale posisie beklee as die Neger vanwee 'n nouer verbondenheid aan wit, wat weer positiewe waarde inhou.'n Verbandhoudende term is metissage wat soos die term hibriditeit gebruiksfrekwensie verkry het in die postkoloniale teorie. Francoise Verges se omskrywing van metissage kan ook van toepassing wees op die term mulat:

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“Access to rather than ownership of”: South African theatre history and theory at a crossroad

Cited by 5 publications

References 7 publications

Somewhere, Over the Rainbow: White-Female-Canadian Dramaturge in Cape Town

Somewhere, Over the Rainbow: White-Female-Canadian Dramaturge in Cape Town

Song as a Register for Black Feminist Theatre-Making Aesthetic

Mulat‐estetiek: ‘n analise van Adam Small se dramas

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