Masters Degrees (Drama)
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Browsing Masters Degrees (Drama) by browse.metadata.advisor "Du Preez, Petrus"
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- ItemDie aard en funksie van Afrikaanse kabaret en enkele aanverwante vorme(Stellenbosch : University of Stellenbosch, 2011-03) Nel, Maryke; Du Preez, Petrus; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: This study examines the contemporary Afrikaans cabaret and the theatrical forms related to it. As background to the study and to determine the original nature of cabaret, I have examined the European origin of the Afrikaans cabaret. Afrikaans cabaret is discussed further by looking at the nature of the original Afrikaans cabaret in the 1980’s. As a constantly evolving art form, the Afrikaans cabaret has undergone multiple changes since its beginning in the 1980’s and because of this the nature of the contemporary Afrikaans cabaret is discussed through the use of the comedy sub-genres: stand-up comedy, one man comedy and sketch comedy. These comedy sub-genres add to the entertainment value of the cabaret and are discussed through the comic elements that can be used in contemporary Afrikaans cabaret. The function of Afrikaans cabaret as social commentator is also examined by placing it against contemporary Afrikaans rock music. The rock movements referred to in this study, which are largely related to socio-political commentary, are the 1980’s Voëlvry-tour as well as the contemporary Afrikaans rock group Fokofpolisiekar. As conclusion the study finds that cabaret is allusive in nature, but that social criticism is the core element. It seems, however, that the contemporary Afrikaans cabaret is more focussed on entertainment without social commentary and that this contemporary function is influenced by numerous factors.
- ItemThe attainment of personal catharsis through the realisation of the dislocation between the internal and external expressive forms of the self(Stellenbosch : University of Stellenbosch, 2010-03) Muller, Teresa; Du Preez, Petrus; Pienaar, Samantha; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: This study is aimed at establishing what personal catharsis is, specifically defining what it is and under what conditions it may occur. During the creation and execution of an autobiographical solo, I had gone through a process of attaining what has since been labelled personal catharsis and recognition of the other, which gave arise to me finding confidence and discovering my creative voice of identity. However, it was not known when or how these processes took place. In addition I was not certain exactly what personal catharsis was in the context of me and my identity. An investigate was also needed into the possibility of generalising personal catharsis as a process that could guide people towards gaining confidence and finding their creative voice of identity. In this thesis, the process of the creation of the autobiographical solo is deconstructed. In doing so the journey of the discovery of the other is highlighted and the role of recognition between the inner expressive form and the external expressive form. Through the means of a source study the concepts of behaviour and the other in reference to identity construction and performance of everyday self are discussed. Then personal catharsis is explored in comparison to the traditional use of the term. Using performance-based research methodologies in conjunction with a questionnaire, a 12-week series of workshops was held to explore the generalisation of personal catharsis and the issues that arose during the study. The workshops were aimed at investigating the possibility of creating a process to attain personal catharsis. It was found that personal catharsis is a subjective process that takes place through the recognition of the external expressive form. It is through this recognition that the dislocation of self can be reconnected and the other can become more transparent to the internal expressive form. This process is readily attained through the exploration of the character of self. However, although new behaviour can result from personal catharsis, the individual needs to choose the internal expressive form as the dominant part in expressive behaviour.
- ItemDeveloping a potential youth festival model to aid and develop the theatre for young people industry in South Africa(Stellenbosch : Stellenbosch University, 2014-12) Mouton, Pierre Le Fras; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of DramaENGLISH ABSTRACT: This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified. Finally, the study develops a model that can be implemented into the South African environment, and highlights specific challenges and areas that should be developed in order to create a thriving and sustainable Theatre for Young People industry in South Africa. It is evident that South Africa’s support structures differ significantly from those of other countries where Theatre for Young People industries flourish. This has caused Theatre for Young People practitioners to adopt a predominantly didactic approach to producing events for young people. The study found that, in order to create a thriving Theatre for Young People industry, a balance between the educational and entertainment values of Theatre for Young People should be maintained.
- ItemDie effektiwiteit van poppeteater in Kenia as sosiale ingrypingsmiddel ten opsigte van tradisie-verwante probleme(Stellenbosch : Stellenbosch University, 2009-03) Oosthuizen, Johandrie; Kruger, M. S.; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: Kenyan culture is deeply rooted in tradition. Many problems arise from the traditional role and conceptions of the Kenyan woman. These include female genital mutilation, polygamy and lack of scholastic education. A definite correlation can be found between the problem of HIV/AIDS and other sexually transmitted infections and certain social traditions as well as the unscripted prohibition of open conversations about sex and death. Kenya does not have an indigenous tradition of puppetry, and Community Health and Awareness Puppeteers (CHAPS) have committed themselves to developing interactive puppetry to address these tradition- orientated social problems. Puppetry makes use of three sign systems, namely sound, design and movement. This sign systems, together with the imagination of the audience, brings life to a lifeless object and serves as a meaningful vehicle of communication. CHAPS use the inherent qualities of the puppet. The puppet’s symbolic and double nature demeanor gives this art form exceptional freedom of speech, which makes it possible discuss sensitive issues. The visual nature of puppetry and general principals such as exaggeration and simplification make it possible to convey a message to people irrespective of their literacy level. The absence of television in rural and impoverished areas in Kenya ensures that people from any age group relate to puppetry as a visual art form.
- ItemDie funksies en vereistes van die resensiewese in ’n veranderende bedryf : teaterkritiek en die nuwe media(Stellenbosch : Stellenbosch University, 2013-12) Theart, Francois Hugo; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: This study examines the role and function of theatre critics and reviews in the industry at present. Characteristics of a good review are also examined and the role of the traditional review in the ‘new media’ is questioned. The ‘new media’ offer the public the opportunity to have access reviews to within a few hours of the first performance. This implies that theatre reviews become more newsworthy through their immediacy. “New media” have the added advantage that the content of reviews can be enhanced, and that the notorious space limitations of the ‘old media’ no longer impact on the copy volume. Within the modern media the style and content of reviews and opinions depend on the specific media form. In the ‘new media’ subjective personal opinions have become more prominent than well-grounded, ethically accountable journalism which used to be required in the older forms of media. The ‘new media’, on the other hand, present journalism with a whole new platform. If utilised in a controlled and dynamic manner, these new technological and electronic developments, can contribute enormously to the theatre review industry. In the concluding chapter a model is suggested according to the which the ‘new media’ can be used as a platform to maintain, develop and advance theatre – and specifically criticism – in South Africa.
- Item'n Historiese ondersoek na die aard van enkele aktrises se vertolking van broekrolle en 'n kreatiewe verkenning van geslagsverruiling op die verhoog(Stellenbosch : Stellenbosch University, 2012-12) Kellermann, Antoinette; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: The appearance of actresses on stage during the seventeenth century gave rise to the discarding of gender boundaries and the exploration of male characters. By investigating the cause and effect and the critical value of actresses assuming breeches parts (“broekrolle”) within specific historical time lines and theatrical traditions, and a comparative study of the creation and portrayal of breeches parts within a South African context, I will endeavour to assess the success of the assumption of male characters on the stage. Actresses performing breeches parts were not necessarily in competition with their male counterparts, but were often influenced by their socio-economic situations, as well as their natural inclination to male identities. The appearance or beauty of the female performer has almost always been a defining factor in the casting of a part and it is therefore possible that some actresses chose to perform breeches parts because their natural attributes might not have fallen within the general concept of beauty. Although the assumption of male characters was often categorized as sensation seeking and selfglorification, it was accepted during certain historical periods and the theatrical traditions of the time. Breeches parts contributed towards the actress’s level of skills, and thus to their financial gain. Within a South African context a comparative and personal perception will be investigated in relation to the experiences of the above-mentioned actresses. Because of the hybrid quality of the character of Ella/Max Gericke in As die Broek Pas (Man to Man), in other words, the duality of her performed identity, the breeches part of Ella/Max differs from the traditional concept of breeches performances. This aspect contributes to the process of self-assessment through performance as research – situated knowledge.
- Item'n Historiese oorsig van die Libertas Teaterklub met spesifieke fokus op sleutelfigure en produksies vanaf 1960 tot 1989(Stellenbosch : Stellenbosch University, 2016-03) Badenhorst, Stephanie Aletta Cornelia; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: This study documents the history of the Libertas Theatre Club from the time of its founding in 1960 up to 1989. All the full-length productions produced by the Libertas Theatre Club, important events, as well as key persons involved with the Club, are documented. At the end of each decade certain conclusions regarding the productions, happenings as well as key personalities are drawn. The main focus is not an in-depth analysis of the above, but rather an attempt to build an archive wherein the said information can be preserved. This compilation is currently of the utmost importance, since the Klein Libertas Theatre was destroyed in a devastating fire at approximately 06:30 on Saturday, 13 June 2015. Besides the irreversible damage caused by the fire, the archival material covering 55 years has been largely destroyed. The main focus of this study was to list the full-length productions produced by the Libertas Theatre Club, along with the key figures who were closely involved with these productions. A few visiting productions are, however, included because of the historical value that these productions added to the Libertas Theatre Club and later the Klein Libertas Theatre.
- ItemMission : Heartstone – creating a physical theatre performance by incorporating South African sign language(Stellenbosch : Stellenbosch University, 2020-03) Marais, Jamie Emily; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: Sign Language awareness is rapidly increasing throughout the world. One reason for this is the constant attempt to incorporate Sign Language into political, social and cultural spaces. South Africa is quickly joining this cultural and linguistic movement. This arts-based research describes the process of incorporating South African Sign Language (SASL) and British Sign Language (BSL) in the creation process of a Physical Theatre approached performance. The study examines mime, puppetry, object theatre, improvisation and contact improvisation as building blocks within the Physical Theatre process and indicates how a Sign Language can be related to and incorporated in these practises. These practises are discussed in relation to the characters and scenes in the performance creation and production of Mission: Heartstone. The study describes how the all-hearing cast, with no prior knowledge of SASL or BSL, experienced working with this visuospatial language. As part of the research, an alternative style script, mainly focusing on the Sign Language used in the production, is included. The study concludes with the discussion of how, jointly, Physical Theatre and Sign Language can be used as a creative impulse to create theatre.
- Item'n Ondersoek na die integrasie en wisselwerking van die betekenisdraende elemente in poppeteater(Stellenbosch : University of Stellenbosch, 2009-12) Lessing, Petronella; Kruger, M. S.; Du Preez, Petrus; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.AFRIKAANSE OPSOMMING: In hierdie navorsing word gepoog om die betekenisdraende elemente van poppeteater, naamlik beweging, klank en ontwerp van naderby te ondersoek om vas te stel in watter mate al drie elemente onmisbaar is al dan nie en hoe hierdie elemente op mekaar inspeel. Die semiotiek van beide teater en poppeteater word as agtergrond en teoretiese basis vir die ondersoek bespreek. Binne hierdie elemente word verskillende kernaspekte ondersoek waaronder distorsie, oordrywing en die dubbele aard van die toneelpop as lewelose objek met ‘n verbeelde lewe. In hierdie deel van die studie word daar ook na verskillende soorte tekens gekyk, naamlik die indeks, die simbool en die ikoon. Daar word bevind dat hierdie tekens saam ‘n dubbele verskuiwing in doel kan ondergaan naamlik van teken na verwysde, en van verwysde na nuwe tekens. Hierdie verskuiwings vind in die teater, sowel as poppeteater plaas. Ontwerp, beweging en klank word afsonderlik bespreek om die aard, rol en moontlike dominansie van elkeen te bepaal. Poppeteater maak staat op die gehoor se verbeelding en gewilligheid om die toneelpop ‘n verbeelde vorm van lewe te gee. Díe siening van die toneelpop, as beide lewelose voorwerp en ‘n verbeelde vorm van lewe, staan bekend as dubbele visie. Dubbele visie kan egter nie alleen binne die poppeteater funksioneer nie, en die verskillende elemente moet saam met die gehoor se dubbele visie ingespan word om die boodskap van die poppespel oor te dra. Beweging verlewendig die toneelpop deurdat dit die illusie van lewe en die sogenaamde dubbele visie ondersteun. Verskillende toneelpoppe word verskillend beheer en geartikuleer, elk met sy eie betekenisse wat hy deur middel van beweging oordra. Daar is bevind dat klank die enigste element is waarmee weggedoen kan word in ‘n toneelpopproduksie. Terselfdertyd kan dit ook nie afsonderlik van beweging en ontwerp funksioneer nie. Wanneer klank wel gebruik word, funksioneer die hoofveranderlike kenmerke van klank soos toonhoogte, volume, tempo, infleksie, uitspraak en ritme in die oordraging van die boodskap. Die navorsing toon dat toneelpoppe nie gebonde aan realiteit is nie, en as gevolg hiervan kan die ontwerper die toneelpop maak sonder dat dit realisties hoef te wees. Ontwerp as ‘n element bepaal ook die kwaliteit en kwantiteit van toneelpoppe, sowel as die aanwending van ander ontwerp-elemente soos kleur, tekstuur, materiaal en die grootte van die toneelpop. Poppeteater is nooit ’n blote nabootsing van ’n mens of dier nie. Poppeteater kan daarom in nabootsende en konseptuele poppeteater verdeel word. Verwringing kom in beide nabootsende en konseptuele poppeteatervorme voor, hoewel tot ‘n mindere mate in nabootsende poppeteater. In konseptuele poppeteater word daar op die gehoor gesteun om die tekens wat dit ontvang korrek te interpreteer. Die betekenisdraende elemente werk saam om die boodskap suksesvol oor te dra. Klank en beweging werk saam om karakterisering te skep; so ook klank en ontwerp. Elemente kan wel afwisselend gebruik word. Die samewerking tussen beweging en ontwerp lei tot uitvoerbare beweging. Alhoewel daar met klank as ‘n element weggedoen kan word, is dit dikwels nie ideaal nie.
- ItemDie ontwikkeling en huidige aard van musiekblyspele in Suid-Afrika(Stellenbosch : Stellenbosch University, 2014-12) Katzke, Marlie; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.; Kock, MarlieENGLISH ABSTRACT: The musical is one of the many forms of musical theatre and consists of certain qualities that define the genre. This form developed out of various genres en there are many approaches and definitions for the musical.This study investigates the nature and changing nature of the musical in South Africa, and it also studies the various factors that contributed and still contributes to the development of the concept musical.The economic-, socio-economic, historical- en cultural background of South Africa is used throughout the study to understand and interpret the nature and context of this theatrical art form. The study is divided into periods; pre – colonial South Africa, Colonial South Africa, Apartheid South Africa and Post-Apartheid South Africa. The above periods are furthermore organized into the following categories; historical background, available theatre spaces, the involvement of theatre makers, forms of musicals found and examples of musicals present during the specific periods.Various forms of the musical are researched; the indigenous community musical, the urban black musical, the anti-apartheid musical, the township musical, independent musicals, international phenomena, contemporary trends as well as the appearance and relevance of the musical at festivals in South Africa.The conclusion of the study is that the nature of musicals in South Africa is bound to various factors that influence this theatrical form, and the form is thus adaptable due to elements such as social-, cultural-, economic- en socio-economic factors.
- ItemPlaying sex : the exploration, creation and transmission of gender codes in puppetry through the exploration of Cleansed(Stellenbosch : University of Stellenbosch, 2011-03) Smalberger, Lize-Meri; Kruger, M. S.; Du Preez, Petrus; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die verkenning, skepping en oordrag van geslagskodes in toneelpoppe. Die studie ondersoek die gebruik van geslagskodes in die skepping van manlike en vroulike identiteite. Die navorsing word baseer op Judith Butler (1999) se teorieë met betrekking tot geslagsgedrag waarvolgens geslag uit herhaalde gestyleerde aksies bestaan waaruit manlike en vroulike identiteite geskep word. Geslag word dus deur spesifieke geslagskodes weergegee wat in kleding, optrede en kommunikasie gevind word. In die studie word daar gekyk na die drie kenmerkende tekens van kommunikasie wat betrokke is by 'n toneelpop, naamlik ontwerp, beweging en spraak. Verder ondersoek die studie ook die kreatiewe prosesse soos gevind in die verhoogproduksie Cleansed (2009) wat as praktiese verkenning gedoen is om die oordrag van geslagskodes (ontwerp, beweging en spraak) by die toneelpop te illustreer.
- ItemRandfigure as middels vir sosiale kommentaar in enkele werke van Pieter-Dirk Uys en Nataniel(Stellenbosch : Stellenbosch University, 2022-03) Van Eeden, Marguerite; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: This study investigates Pieter-Dirk Uys and Nataniël as two theatre practitioners that used characteristics of satire, cabaret, and the creation of marginalised characters to deliver social and political commentary on apartheid. Satire, comedy, and certain characteristics of cabaret are used as a point of departure for the theoretical framework of this study to further analyse four specific plays created by Pieter-Dirk Uys and Nataniël. Farce About Uys and Adapt or Dye are discussed with regards to Pieter-Dirk Uys’s use of satire, cabaret, and the creation of marginalised characters to protest apartheid. A discussion of Nataniëls plays, Dancing with John and White Soul, are discussed with reference to Nataniël’s use of satire, cabaret, and the creation of marginalised characters to protest apartheid. The thesis concludes that both PieterDirk Uys and Nataniël used satire and cabaret to protest apartheid and further that in each of the four aforementioned plays both Pieter-Dirk Uys and Nataniël created marginalised characters to protest social and political issues during apartheid.
- ItemTelevision theatre : investigating the possibility of a translation of Afrikaans theatre to screen(Stellenbosch : Stellenbosch University, 2014-04) Binge, Ludwig; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama .ENGLISH ABSTRACT: South African theatre and especially Afrikaans theatre has become increasingly dependent on the annual arts festivals. These events only last for a week at a time and most productions are unable to make the move to a larger, more commercial urban venue, and are therefore unable to survive beyond the festival. In addition to being lost to future audiences, little attempt is made to keep record of these productions, which makes research surrounding festival productions very problematic. Television has the ability to make audio-visual records of events and to showcase them to a large audience. The primary aim of this study was to investigate the possibility of translating theatre to television for the purpose of expanding the potential audience of Afrikaans theatre productions, while simultaneously making audio-visual records of these events. After the possibilities had been examined, the study began to construct a proposed mode of operation for a season of Afrikaans theatre on television. International trends in the practice of translating theatre to screen were examined which included film and television adaptions of stage plays and live recordings of stage plays. The most significant initiative the study encountered was the NT Live (National Theatre Live) project that records live performance on the stages of the National Theatre, while simultaneously transmitting them live in high definition to cinemas across the globe. The study then shifted its focus to South Africa where it determined what had been done in the practice of translating theatre to screen in this country. The struggle to obtain sufficient and easily accessible information on local examples proved that there is an overall lack of theatre documentation and archiving in South Africa. It also found that South Africa did not have an equivalent to a project such as the NT Live. After discovering that there have been South African television endeavours that involved the recording of live performance, the study used the NT Live initiative as case study in constructing a South African model for television. While constructing a proposed mode of operation for a series of Afrikaans theatre on television, it was indicated how these recordings could serve as a documentation process and research resource for productions. Three possible models for translating theatre to television were constructed to better determine what the possibilities were in terms of the content and format of such a series.
- ItemThe Toltec teachings and performance training : complementary practices of exploration(Stellenbosch : University of Stellenbosch, 2010-12) Prigge, Lanon Carl; Du Preez, Petrus; Kruger, Marie; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: This study aims to discuss the complementarity of Western performance training and the Toltec Teachings. It is motivated by a recognition that performers in training might often have to develop their own means to training „system‟ post-study, especially in environments where limited opportunities exist to share in group contexts, such as Jerzi Grotowski‟s Theatre Laboratory or Eugenio Barba‟s Odin Teatret. The solution of self-study (study of the self by the self) is explored in answer to this challenge. Owing to the fact that theatre commentators and practitioners often reference the need to look to alternative models or „forms of civilisation‟ for support and illumination, the potential of the Toltec Nimomashtic System - a self-motivated system for studying the self - is considered as a potential „other‟ in this regard. This study takes into account that complementarity implies both similarities and differences between the two paths in question, and considers how these might offer support to the challenge of self-study in particular, as well as the context of performance training more generally. Comparisons are made between Western performance training and the Toltec Teachings with reference to theory (ideology), aims and outcomes, and practice (methodology). Such comparative analysis reveals that sharing the characteristics of mystery, resistance and paradox enhances complementarity. This suggests that both the way of the performer and the Warriors Path are paths of exile and exclusion. They have in common a defiance of social convention and a bias toward the non-ordinary or extra daily. This is evidenced most specifically through the pursuit of presence as a state defined by absence. Perception, as a central determinant of presence, is positioned in relation to discoveries in modern physics and Barba‟s (in Christoffersen 1993: 159) synergistic „traveller of speed‟ concept, as a means to elucidation. Investigation of specific Toltec ideas and methods that offer perspectives on destructuring the ego and the worldview it sustains, are seen to support Grotowski‟s via negativa as a process of eliminating blockages that impede effective expression, as well as Barba‟s (Christoffersen 1992: 80) „refusal of culture‟ as a negation or deformation of daily behaviour. Compatible approaches to shifting perceptions of the self by the self, in order to achieve the shared outcome of presence, thus consolidate the overall complementarity of the two paths.
- ItemTowards the Family's Salvation : examining the displacement of the (F)ather in selected religious family dramas of Ibsen and Strindberg resulting in the creation of a new text(Stellenbosch : Stellenbosch University, 2014-04) Gerber, Andre Kruger; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: During the nineteenth century, Charles Darwin published The Origin of Species, inciting debate surrounding the validity of the Christian creation narrative. Prior to this, the Adam and Eve creation narrative was the central narrative around which Christian families modelled their own family structures – with the father as the head of the household. In this thesis I discuss the effect that Darwin’s publication had on the restructuring of families in the nineteenth century. I do this through analysis of Henrik Ibsen’s Ghosts and August Strindberg’s Easter, two domestic dramas that chronicle the effect of a society redesigning their religious philosophies owning to the toppling of the patriarchal structures of authority. I argue that Ibsen and Strindberg stand in polar relation to one another in terms of the debate surrounding the religiosity of the family and the position of the (F)ather within this framework (borrowing from Ross Shideler’s term conflating the notion of the divine Father and the earthly father). Relating the debate to the contemporary Afrikaner culture, the research aims to create a family drama (...van ons vaders) that addresses the decline of Afrikaner Calvinistic religious constructs in a similar manner to that of Ibsen and Strindberg, but in through a contemporary aesthetic approach.
- ItemTransposing from screen to stage : creating and implementing an analitical framework for incidental music during a theatre production(Stellenbosch : Stellenbosch University, 2017-03) Bezuidenhout, Stephanus Abraham; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of DramaENGLISH ABSTRACT: In this study the untrodden field of incidental music in theatre was inspected. Due to the lack of resources in this field, techniques used in film music were applied to incidental music in theatre due to the similarities in this field. Three channels of film music were identified to be analysed. This included the channels of music, visual and text. The solo and interactive functions between these channels were analysed and discussed to allow the construction of a new framework. Before this framework was constructed, the historical influences of incidental music in theatre and film were discussed by reference to a case study in each of these fields. The phenomenon of the success of incidental music during the melodrama was deliberated by referring to the music composed for the play Peer Gynt. The unique contributions of various film composers are conversed and the analysis of the compositional techniques applied to the film music in Psycho by Bernard Hermann were analysed. The emphasis of the analysis was placed on the modular approach that Hermann consummated in his later films. These case studies, as well as the analysis of three channels of film music, allowed for the construction of a framework. With this framework a new score was composed for a theatre production. The themes composed for Die Reëngodin were discussed and analysed in the study and it was concluded that a strong analytical approach towards the construction of incidental music is not a successful approach. The framework constructed would allow for a successful analytical approach towards incidental music, but for not the construction of a new score.
- ItemUsing the alchemical Magnum Opus as a guideline for creative writing(Stellenbosch : Stellenbosch University, 2017-03) Peters, Shaun Eric; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: The practice of creative writing is challenging the individual due to the lack of confidence in ability as well as a lack of systematic direction of how to approach the project. Like writing, alchemy concerns itself with crafting the perfect product, perfecting the practitioner‘s craft and also cultivating a confident and enlightened practitioner. Until now no creative writers have tried to implement the seven alchemical steps for the crafting of a creative writing piece to judge its effectiveness within the creative writing practice. The study explores whether the seven step alchemical Magnum Opus can serve as an effective writer‘s guideline to help cultivate a better and more confident playwright. The study will follow the practice-led Practice as Research model, wherein the practitioner will try and document the implementation of the Magnum Opus process to expand on the practice methodology of playwriting. Chapter Two examines the basic history, theories and practices of exoteric and esoteric alchemy by looking at the fundamentals of the Emerald tablet, alchemical symbols, the seven principles of Hermetacism, as well as alchemy‘s influence on the works of psychiatrist Carl Gustav Jung. Chapter Three explores the correlation between the practice and practitioners of alchemy and writing. In Chapter Four the seven steps of the Opus are implemented, starting with psychological preparation, the identification of creative blockages, the identification of possible themes, and the exploration of these themes. Finally the play will be drafted, examined and re-written. In the final chapter it is concluded that the Magnus Opus can indicate a clear path to creation of the work and is flexible enough to make room for the playwright‘s own choice of creative writing exercises and planning, however it can be misinterpreted or underutilized, which could lead to problems in the narrative arch of the play. On a personal level the esoteric influences of alchemy help the playwright to become aware of possible mental hindrances to their writing and also as to what level of awareness and study is required to craft an effective writing ability.
- ItemDie verteenwoordiging van die Kaapse Kleurling-identiteit soos gesien in At her feet, Die Joseph en Mary affair en Bullets over Bishop Lavis(Stellenbosch : Stellenbosch University, 2015-04) Van de Rhede, Robyn Candice; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: In this research I investigated, with specific references to the three dramas, the ways in which the Coloured and his community were represented in the post-apartheid theatre. I examined identity formation through the theories of Erik Erikson and James Marcia’s identity theories, as well as theories with regards to race and ethnic identity. From these theories I came to the conclusion that the individual identity is a constant process of forming and reforming, especially during the adolescent years. Secondly, I examined group identity. A group is characterised by the nature of the relationships between its members, and also plays an important role in the structuring of the members’ identities. Group identification is a strategy for successfully handling the negative effects that are associated with ethnic minority groups. Other racial groups are usually biased towards the ethnic minority groups because of the stigma by which they are characterised. The Cape Coloureds and the Cape Malays are the two groups that were chosen for examination and discussion, seeing that they are the two largest groups in Cape Town. There is a vast array of factors and subsections that can be chosen for the forming of a Coloured identity. These factors consist of gender, religion, language, style, class, education and appearance. Following on the research and chosen dramas, I formulate three categories, each consisting of its own type of Coloured character. Category one consists of the extreme stereotype: the typical Cape Coloured and Cape Malay. Category two makes space for the middle course: the more comprehensive Cape Coloured and the Indian-Muslim. The last category consists of the other extreme stereotype: the White-Coloured and the Public Malay. Category one and two are used most frequently when representing Coloureds. Category three Coloureds are chosen very seldom. Playwrights, directors and actors often create characters based on preconceived ideas of the Coloured identity. These characteristics seem to be a reduction of an identity that promotes these preconceived ideas. The Apartheid laws that were used to marginalise the Coloureds are still found in these characteristics. As long as these aspects are present in society, they will be displayed on stage. Unfortunately, within post-apartheid theatre, the Coloured and his community are still mostly represented by these stereotypes.
- ItemDie verwerking van n jeugroman na n verhoogteks teen die agtergrond van kulturele en geografiese verplasings : n gevallestudie aan die hand van Dis ek, Anna(Stellenbosch : Stellenbosch University, 2019-04) Nel, Alma; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: This thesis explores the notion of intercultural and geographic adaptations within the South African youth theatre context. Initially, the study reflects on international adaptation practices, especially within the context of youth theatre. Here the focus is on the methodologies and modalities of British, American and Australian stage adaptations. Throughout the body of reasearch, it is found that there exist several approaches to adaptation, including analogy, commentary, and the so-called pluralist approach. Hereafter, the focus shifts towards youth theatre praxis and the overall trends within this milieu. Aspects such as socio-political concerns and socio-economic realities are identified as key concerns of the youth. The practical investigation is conducted at Bergriver Senior Secondary School where the novel, Dis Ek, Anna by Anchien Troskie is adapted into a youth theatre script for performance at the ATKV Youth Theatre Competition (ATKV-Tienertoneelkompetisie). The adaptation is therefore positioned and explored within this sosio-political and economic context by shifting Dis Ek, Anna culturally and geographically to Cape Afrikaans (Kaapse Afrikaans) within the the context of the school community. The eventual script, Dis Ek, Annatjie, is presented as a practical example of an adaptation for the youth theatre.
- ItemVisual music : a study on the role of music in South African children’s television programmes from 1976 − 1994(Stellenbosch : Stellenbosch University, 2013-03) Huisman, Rhonda; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: This study is aimed at providing useful insights into the field of audiovisual perception and understanding in South African children’s programmes, as well as demonstrating how the Congruence-Associationist framework can be of use when investigating these aspects. Music serves as an important element in children’s television programmes, as it is often used to subconsciously stimulate the viewers’ senses. The purpose of this study is to provide a more complete image of the role of music within the context of South African children’s television programmes from 1976 − 1994, using ethnographic research with a focus on case studies. In the first part of the study, a base is formed for analysing music by addressing general roles of music in audiovisual context, as well as children’s development of musical perception and a possible clarification of its origins. Its origins appear to be closely related to language and could explain why music fulfils such a significant role in a variety of interactive contexts. The Congruence-Associationist framework by Annabel Cohen is used as a suitable framework of analysis of music in children’s television by adapting and expanding it into three sections: the observation phase, the interpretation phase and the results phase. In the second part of the study, case studies and scene analyses of six selected children’s programmes are conducted, according to the three sections of the adapted framework of analysis. The findings indicate that music functions in multiple ways according to the focus of the programme, and that it fulfils an appealing and recognisable role in these programmes. It is argued that music serves to support the visuals on screen, influences the general interpretation of the viewer and ultimately provides understanding while facilitating learning. This information could be used in a variety of subjects, thus opening up endless possibilities for further research into the multiple roles of music.