Masters Degrees (Drama)
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Browsing Masters Degrees (Drama) by browse.metadata.advisor "Pretorius, Mareli Hattingh"
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- ItemFilled nothingness : hearing silence onstage(Stellenbosch : Stellenbosch University, 2020-03) Wiggill, Caitlin Alice; Pretorius, Mareli Hattingh; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: The aim of this study is to address the question of how silence can be defined and applied as a communicative device in theatre. The study consists of a theoretical and a practical component. The theoretical component relies primarily on a literature study. I firstly provide a theoretical framework by discussing the role and place of silence within verbal and nonverbal communication, with specific reference to the theatre. As a result silence is framed as relational to space and is defined as the absence of words/language, rather than the absence of sound, acknowledging the impossibility of pure silence. The performance of John Cage’s composition 4’33” is discussed as an example of silence in performance, highlighting the role of environmental sound within silence. The literature study, secondly, focusses on an investigation of Samuel Beckett and Robert Wilson’s approaches to theatre, with specific reference to their respective use of silence, and identifying possible methods employed within their praxis. Within my analysis of Beckett’s plays Breath and Not I, I identified the methods of textual scoring and formalized periodicity. In my analysis of Wilson’s Deafman Glance and Einstein on the Beach, I identified the methods of reiteration and Wilsonian Time. The practical component employs an exploratory research methodology within a practice-led approach to implement the identified methods within my own work as director. Sarah Kane’s 4.48 Psychosis was selected as text for my practical exploration. I provide background on the work of Kane, and 4.48 Psychosis, discussing the ways in which silence features in the text. An account of the practical exploration is given, detailing my two phase rehearsal process with a cast consisting of four female performers. This included the development of exploratory exercises and the application of Beckett and Wilson’s methods. During the rehearsal process is became clear that a combination of methods is possible, with the definition of silence extending to multiple levels, including visual, auditory, and psychological/emotional. In understanding silence in a contextual sense, the relationship between different aspects of theatre (particularly that of silence and space) was explored in the production. The communicative value of silence was found to be similar to that of spoken language in terms of conveying emotion and relationship. I also found that silence may be indirectly curated through the active handling of another aspect of performance such as rhythm, movement or sound itself.
- ItemInvestigating a personalised site-specific approach to performance : selected origins, possible influences and practical implications(Stellenbosch : Stellenbosch University, 2014-04) Bishop, Gabriella Simone; Pretorius, Mareli Hattingh; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: Central to a site-specific approach to performance is the concern for the potential of unconventional spaces. Appearing in multiple mediums, there seems to be little clarity on the parameters of this approach and it appears to have become a flexible term under which a plethora of manifestations have begun to collect. The aim of this thesis is to investigate a personalised site-specific approach to performance in order to provide insight into the role of the director in this approach, as well as to identify possible characteristics that might differentiate a site-specific approach to performance from other outdoor performance genres. Selected visual arts movements of the 1960s and 1970s which contributed towards the gradual development of a site-specific approach are Dadaism, abstract expressionism, minimalism, performance art, happenings, and land art. Artists involved in these movements challenged the traditional idealisation of aesthetic art works by placing importance on the physical experience and creation of art works. Eventually involved artists abandoned the galleries all together, exploring the potential of unconventional spaces through installations and performances. Theatre practitioners such as Artaud, Grotowski, Schechner, Malina and Beck contributed, amongst other things, on the breaking down of the theatre space, removing the stage and seating in order for the performance to engulf the audience in the action. Site-based performance was influenced by the above mentioned practitioners. Possible categories collected under this umbrella term are site-sympathetic, site-adjusted, site-specific and site-generic. Practitioners currently exploring these individual approaches in the Western Cape are amongst others Samantha Prigge- Pienaar, Louise Coetzer and Nicola Hanekom. A practical investigation of a personalised site-specific approach to performance, led to the following conclusions. Firstly, a site-specific approach to creating a performance requires the director to step into the role of facilitator, making decisions in response to the site rather than controlling the site. Secondly, the term site-specific is not fixed, as it expands and develops with the unique needs of every site. Thirdly, it is restrictive to say that elements like music and/or props cannot be brought into the site; however this depends on the nature of the site. Fourthly, while a complete set of characteristics cannot be made absolute for a sitespecific approach to performance two key features of this approach are the centrality of the site and the interactive relationships. Lastly, a site-specific approach to performance asks for a paradigm shift, whereby everything that is considered part of the traditional theatre should be reviewed.
- ItemAn investigation into the motives of filicidal mothers in selected plays(Stellenbosch : Stellenbosch University, 2017-03) Holm, Nicole; Pretorius, Mareli Hattingh; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: Maternal filicide is a rare crime perpetrated for a number of reasons. It is a complex multifactorial phenomenon with psychiatric, psychological and environmental factors combining to create fertile ground for this crime. This study investigates the extent to which dramatic texts adhere to research on maternal filicide. This would determine the degree to which an actor charged with playing a filicidal mother would be able to create a psychologically coherent and believable character. Four plays were selected for this research study which have maternal filicide as motif, namely: Aalst (McLean, 2007), My naam/my name is Ellen Pakkies (Meiring, 2011), And all the children cried (Jones & Campbell, 2002) and By the Bog of Cats (Carr, 1999). A discussion on acting approaches and text analysis was done to indicate how an actor would analyse a dramatic text so as to create a character for performance adhering to psychological realism. It was determined that, for the purposes of this thesis, most information pertaining to character will be found in the background story, given circumstances and character components of formalist text analysis. The three most dominant perspectives on maternal filicide were briefly discussed in an attempt to understand what type of mother would kill her child. Literature from the psychiatric perspective documented unipolar depression, bipolar disorder and schizophrenia as three conditions often associated with filicidal mothers. From the psychological literature, it emerged that certain personality disorders are often diagnosed in mothers who have killed their children. The psychosocial perspective argues that a mother becomes filicidal because of environmental factors which impact negatively on her psychologically and thus impair her functioning. Child development theories, the neurological and the feminist perspective were also considered. The factors associated with maternal filicide were then delineated as cognitive, affective and behavioural manifestations so as to make them recognisable when encountered in the backstory, given circumstances and character components of a text. It was concluded that all four plays were factually accurate in creating a psychosocial environment in which maternal filicide is possible. It was, however, found that only three of the four texts adhered to research on maternal filicide in that the filicidal characters exhibited behaviour, cognitions and affect in accordance with mental illnesses associated with this crime.
- Item’n Ondersoek na toegepaste teater as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing(Stellenbosch : Stellenbosch University, 2013-03) Esterhuysen, Jana Maria; Pretorius, Mareli Hattingh; Esterhuizen, J. T.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: In this research paper an investigation into applied theatre as medium for community development in the Stellenbosch area is conducted. An initial investigation was launched to determine whether there are currently organizations in the Stellenbosch area that uses applied theatre for the purpose of community development. This investigation concluded that there are organizations currently in the Stellenbosch area that make use of community theatre, but not necessarily for the purpose of community development. After further research, it was found that there are organizations in the greater South Africa who make use of other forms of applied theatre as a medium for community development such as theatre for development and theatre-ineducation. Consequently, brief overviews of the different forms of applied theatre are given, explained and discussed under the following three categories: applied theatre in education, applied theatre in the community and applied theatre in the workplace. From this description it was determined that community theatre and theatre in education is the most appropriate forms of applied theatre for community development. An empirical study was launched to investigate existing and/or completed applied theatre projects in the Stellenbosch area as well as the greater South Africa to determine which projects have been undertaken, which forms of applied theatre has been used and what the focus and outcomes of the projects was. Interviews were conducted with specific organizations to determine how applied theatre is being applied as medium for community development. Following the existing projects and the identified forms of applied theatre that could be used for community development, it was decided to conduct and launch a theatre for development project in the Stellenbosch area. There is currently no similar theatre for development projects and the feasibility of such a project has been questioned in a practical manner in a case study. The case study was launched at a school in the Stellenbosch area where a project that deals with the importance of school attendance were undertaken with a group of Grade 7 students. After completion of the research study it has been determined that applied theatre can be used as a medium for community development in the Stellenbosch area. Although there are several challenges to face such as finance and planning associated with the execution of an applied theatre project, it is possible for such a project to be potentially successful.
- ItemDie ontwikkeling van kritiese denke deur die gebruik van drama as onderrigmetode binne die vak Lewensorientering(Stellenbosch : Stellenbosch University, 2013-03) Stols, Amori; Pretorius, Mareli Hattingh; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.ENGLISH ABSTRACT: Critical theory forms part of the foundation of the South African school curriculum. The development of critical thinking is part of the general aims of the curriculum. This study will investigate the possibility of developing critical thinking through the use of drama as a teaching method in the subject Life Orientation in the further education and training phase (FET) Grades 10-12. This problem statement will be researched through a quantitative literature study. The school curriculum underwent a transformation since 1994 from a content- and teacher driven curriculum to an experience- and student centred approach to teaching. New subjects were also included in the curriculum such as Life Orientation. There are, however, various implementation problems with regards to Life Orientation. These implementation problems can mainly be attributed to the insufficient in- and pre service training that teachers receive and their inability to use progressive teaching methods. The Life Orientation curriculum does, however, provide opportunity for the development of critical thinking skills. The concept of critical theory will be investigated as philosophical and theoretical basis for this study. The influence of critical theory on the critical pedagogy of Freire will be discussed to show the relationship between education and critical theory. Furthermore, the influence of critical theory on the development of Brecht’s Epic theatre will also be investigated. Finally, a definition for critical thinking will be put forward, after which the question whether critical thinking is developed through the school curriculum will be investigated. Different approaches to drama as a teaching method is briefly discussed. Dorothy Heathcoat’s approach to drama in education is chosen as a focus for this study as she uses drama as a teaching method to teach subject content and to develop thinking skills through reflection. Heathcote uses Brecht’s Epic theatre techniques to alienate the students in order for them to critically reflect on the content that is being taught. Process drama is a more accessible approach to drama in education, but it uses the same core elements namely improvisation, role-play and reflection. Process drama consists of an improvised role-play where the class collectively takes part and the teacher-in-role steers the educational experience through questions that leads to reflection. It is during this reflection that critical thinking is developed. Process drama can be used to teach the content of Life Orientation and develop critical thinking. It, however, requires the teacher to be the director, actor, writer, teacher and self-audience. During the planning of the process drama lesson the teacher also has to follow a certain process where the theme, contexts, roles, dramatic focus, tension elements and signs for the lesson is identified. To illustrate how drama as a teaching method can be used in Life Orientation, three lesson plans are provided.