Department of Drama

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Die 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.
After the megamusical : exploring the intimate form
(Stellenbosch : Stellenbosch University, 2017-03) Gerber, Andre Kruger; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: The megamusical has become one of the most popular performance forms, with productions such as The Phantom of the Opera (1986) and The Lion King (1997) running profitably for decades. In South Africa, where productions of megamusicals are tremendously popular, the form itself is increasingly unsustainable within an economic framework where ticket prices and production costs are often at odds. This dissertation investigates another form of musical theatre – the intimate musical – as a more sustainable model for creating musical theatre in South Africa. The study defines the intimate musical within certain limited fiscal, performative and aesthetic (visual and aural) frameworks, noting the use of a limited cast and orchestra size, imaginative staging techniques and focused narrative qualities as distinguishing features. This dissertation assesses and outlines the aesthetic principles of both the megamusical and the intimate musical and subsequently proposes that the intimate musical is a more sustainable model in which to resourcefully present imaginative productions with an alternative thematic and aesthetic scope. The study concludes with the creation and discussion of a new Afrikaans intimate musical, Fees, (Festival) that incorporates the aesthetic features of the intimate musical.
The 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.
A critical inquiry into the evolution of socio-political performances in traditional Nigeria Yoruba Alarinjo and contemporary itinerant theatre through a review of selected works of Hubert Ogunde, Wole Soyinka, Ola Rotimi and Femi Osofisan
(Stellenbosch : Stellenbosch University, 2018-12) Bakare, Babatunde Allen; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This study examines the evolution of socio-political theatre and drama performances in Nigeria. The first part consists of the introduction, theory and historical contexts, while the second part discusses the contribution of selected literary dramatists to this evolution of social-political theatre and drama performance in Nigeria. The study specifically focuses on Yoruba Traditional Alarinjo (Travelling) Theatre, contemporary itinerant theatre and selected works of Hubert Ogunde, Wole Soyinka, Ola Rotimi and Femi Osofisan. The theoretical framework of the study is based on three concepts: the Theatrical Event expounded by Wilmar Sauter; Theatre and Festivals as Poly-Systems by Temple Hauptfleisch; and Vicki Ann Cremona’s concept of Festivalising Process. Relevant historical developments are reviewed and analysed in the study. The developments are points of reference to various forms of Yoruba theatre and drama. In addition, the study examines social-political evolutions, especially those that relate to and are useful for the analysis of the inherent evolution of theatre and drama in the Yoruba tradition Alarinjo, the contemporary theatre and the selected works of Nigerian literary dramatists. It further examines Yoruba Traditional Alarinjo (Travelling) Theatrical and dramatic performances and investigates the critical roles of the egungun (masquerades), masques, oral literature and other Yoruba cultural and traditional properties in the performances. This study concludes that the types of performance modes, styles, methods and techniques which were used during the different stages of the evolution of socio-political theatre and drama in Nigeria, are rooted in the vast Yoruba cultural and traditional forms of performing arts. These include forms such as masquerading, oral poetry, folklore or folktale, music, dance, chants, incantation and acrobatic display among others. The study recognises the contribution of the Western culture of entertainment which partly influenced the evolution of socio-political theatre and drama performances of the Yoruba contemporary itinerant theatre. Lastly, this study analyses and reveals the influence of Western education on the mentioned Nigerian Literary Dramatists’ theatre and drama.
Developing 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 Drama
ENGLISH 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.
Die 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.
Die 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.
'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.
'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.
Mission : 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.
'n Ondersoek na kinderteater as 'n moontlike tersiere toneelspelonderrigmeganisme
(Stellenbosch : Stellenbosch University, 2020-12) Van der Merwe, Schalk Willem; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This study investigates the current actor-training approach for students in South Africa and how this training is presented at tertiary level. The starting point for the study is the Drama Department, Stellenbosch University. Various approaches to actor-training elements are initially compared to international trends. The term integration was further investigated to create a working definition for the study. Subsequently, the successful level of integration of various actor-training elements is investigated. As an approach to this investigation, the Stanislavski system is examined in the light of the exaggerated acting style and conventions of children's theatre. Following this, various research activities were executed. Art-based research is used as a paradigm for these research activities and the relationship between Research Led Practice and Practice Led Research is applied. Self-reflective data was collected and artistically presented as exegesis in the thesis. Research activity 1 has delineated the term children's theatre, including the conventions and style of the theatrical form, so that it can be explored in practice. The Stanislavski system in Research Activity 2 was researched and tested through the theoretical framework applied within practice. Various components of the system as an approach to actor-training are emphasized. From Research Activity 2, two actor-training models are created (in Research Activities 3 and 4, respectively) to test an approach to the successful integration of actor-training elements within an exaggerated acting style. The research and methodological approach has led to the application of the theories being highlighted, in that it identifies, addresses and improves the successful level of integration during acting. Although the Stanislavski system has been used as an approach, other approaches can also be used. Children's theatre as an exaggerated acting style can also be replaced with other exaggerated acting styles, such as the farce.
'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.
Die 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, Marlie
ENGLISH 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.
Playing 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.
Randfigure 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.
Reclaiming cultural space through performance : the intercultural activities of the Ghana Dance Ensemble (1964-2013)
(Stellenbosch : Stellenbosch University, 2018-12) Rashida, Resario; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This dissertation examines the intercultural practices of the Ghana Dance Ensemble (GDE) from 1964 to 2014. Intercultural performance, often defined as an intentional artistic encounter between diverse cultural sensibilities, has become important in the increasingly globalising world. In recent decades, intercultural performance has attracted a wealth of scholarship and theoretical attempts, as theorists investigate the nature and purpose of such encounters. Such scholarship on intercultural performances has largely come from the Western world as a result of the pioneering work in ‘conscious cultural exchange’ by practitioners like Antonin Artaud, Peter Brook, Ariane Mnouchkine and others in the twentieth century and into the 21st century. While critical interculturalism has concentrated on the need for a more nuanced and balanced view of intercultural theatre practice and scholarship, it appears to have neglected intercultural practices between cultures within a nation. By investigating the intercultural activities of the Ghana Dance Ensemble, I set out to address the gap with a micro-concentration in this study. I argue that, since the diverse ethnic groups within Ghana have distinct cultural traditions and languages, interactions between these cultures at the level of performance, qualify for discussion as intercultural performance rather than Rustom Bharucha’s ‘intracultural’ performance. In order to understand the nature of the intercultural activities of the Ghana Dance Ensemble, I define the inter-ethnic performance activities of the group within the nation as micro-intercultural performance, and the international exchanges and performance activities as macro-intercultural performance. This view of inter-ethnic performance as intercultural performance at the micro-level suggests that parallels exist between discourses on intercultural practice at the macro-level, and inter-ethnic performance within the nation. Matrixing postcolonial theory and intercultural performance theory, this qualitative single-case study adopts an interpretivist paradigm to examine both the micro- and macro-intercultural performance activities of the GDE. Through discourse analysis, I examine the historical conditions that led to the formation of the GDE and how macro-intercultural issues of power relations, ethics of representation and cultural hegemony find resonances at the micro-level due to ethnic differences. Furthermore, the GDE’s position as a postcolonial product cannot be overlooked when discussing its external relations; exchanges and festival participation, with imperialistic cultures that have a tendency of ‘othering’ foreign cultures. The ethnic diversity of the GDE and its multi-ethnic repertoire of dances, and musical and vocal styles, present a utopian view of the nation as a perfect example of the concept of unity in diversity. However, the reality of ethnic difference, as experienced and performed by the members of the GDE, fractures this utopian view of the company and the nation at large. In its fifty years’ existence the GDE, with its micro-intercultural performance practices, has succeeded in bringing diverse indigenous cultural traditions of Ghana to Ghanaians for mutual appreciation, even as the members work through their own internal ethnic differences. The study also reveals that, while the GDE exercises its own form of agency in macro-intercultural encounters, the company is not shielded from the hegemonic constructs with which its European partners approach the exchange. That notwithstanding, there seems to be a meeting ground between the GDE’s focus on authenticity and that of international festival organisers. While the GDE by design promotes authentic Ghanaian cultural traditions, festival organisers ride on such authentic traditions to promote their events. This study contributes to scholarship on intercultural performance by concentrating on micro-level encounters and drawing parallels between encounters at the macroand micro-levels. It concludes that micro-level intercultural performance may hold the key to addressing ethical issues in macrolevel intercultural performance discourse.
Serious play : exploring the ethical tensions of license and limits in drama, theatre and performance education
(Stellenbosch : Stellenbosch University, 2015-12) Prigge, Lanon Carl; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: Broad global trends evidence the need for improving ethics in a variety of disciplines. The general education codes do not address the unique culture specific to teaching and learning drama, theatre and performance in tertiary institutions in South Africa. Interrogating ethics could be met with resistance and upset the status quo in education and industry. Imposing ethical frameworks from the outside-in may fail to account for the specific culture they are designed to serve. This study observes that ‘outside-in’ refers to interference from the greater systems of education (social and institutional), as well as any mandated prescriptions or strongly divergent value positions arising from within an individual educator’s own context. This study therefore explores how educators might begin the process of negotiating ethics within their personal pedagogy by assuming personal accountability. This foregrounds the value of a process and practice of ethical self enquiry over the general identification and analysis of ethical considerations. It explores personal preparatory process work ahead of anticipated negotiation of ethical value positions and concerns in group dialogue. Because narrative is central to drama and theatre and performance, this study explores and reflects on personal narrative-oriented enquiry as a means to conscientising personal ethical value positions (and evolving a ‘personal ethos’). The emphasis resides on raising personal consciousness by exploring personal resources in answer to the discussion of ethics. By personal resources is indicated: selfmotivated effort (autonomous moral agency), conscious and unconscious (tacit) historical experience and knowledge, as well as the creative talents, practices and techniques unique to their artistry and pedagogy. Also explored and reflected upon is how a raising of personal consciousness in this manner might furthermore contribute to a raising of collective consciousness. The study is presented as an autoethnographic enquiry, or Performed Narrative, that describes, examines, demonstrates and performs a process and practice of ethical self enquiry as an evocation to fellow educators. This study finds that the quest for identity and self-knowledge are shared by the three strands this Performed Narrative draws together, namely: performance, education and ethics. It proposes that if the quest for self-knowledge can somehow be foregrounded in performance and its education as an inherently ethical endeavour, it may be possible for ethical self enquiry - as a form of autonomous moral agency – to become desirable as integral to drama, theatre and performance education versus being an imposition from the outside. It suggests that this might result in a ‘paradigm shift’ that addresses ethical concerns at the level of causes rather than effects.
Television 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.
The 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.
Towards 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.

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