Department of Drama

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Cape curtains : a study of selected Cape Town theatres, 1843-1916
(Stellenbosch : Stellenbosch University, 2002) Neethling, Miemie; Hauptfleisch, Temple; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This study aims to reconstruct the history of the Capetonian theatrical venue of the second half of the 19th century. It explores the many different venues used for theatrical activities. Venues discussed include amateur theatres such as the Hope Street Theatre, Roeland Street Theatre, Haupt's Theatre and the Drury Lane Theatre. Due to the extensive research already done on the African Theatre on Riebeeck Square and the Garrison Theatre they are only briefly mentioned as part of the background to the social dynamics of Victorian Cape Town. Quite often venues such as banqueting halls, drawing-rooms and wine stores doubled as theatrical venues. Halls discussed include the Oddfellows Hall, the Mutual Hall and the Drill Hall. Although the main objective of the study was the theatrical venue, it is impossible not to mention the different drama companies that occupied these venues. Therefore, the activities of the drama companies were also discussed to a certain extent, because of the strong interrelationship between company and theatre house. These include, among others, the companies of Sefton Parry and Disney Roebuck. For the purpose of this study the theatrical venue has been defined as an indoors space, which is divided into two clearly demarcated areas, namely the stage and the auditorium. Because of this definition the early African theatrical activities are not included in this study and it deals rather with the Western theatre tradition, namely that of the early Dutch and English artists. The study deals primarily with the dominant English theatre post-1850 and the shift from amateur to professional theatricals. Professional theatres include the Theatre Royals of Harrington Street and Burg Street, the Exhibition Theatre and the Good Hope Theatre. At the end of the thesis parallels are drawn between the 19th and 20th century theatre houses such as the Opera House and the Tivoli Theatre. Another issue addressed by the study is the quest for a permanent theatrical venue or building in the early Cape theatre tradition.
Exploring issues of identity and belonging in the films of Mira Nair : Salaam Bombay!, Mississippi Masala and Monsoon Wedding
(Stellenbosch : University of Stellenbosch, 2010-03) Van Lill, Hilda; Hauptfleisch, Temple; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: The aim of this thesis is to study the themes of identity and belonging in the films of Mira Nair. Three films form the basis of this study namely Salaam Bombay!, Mississippi Masala and Monsoon Wedding. The approach is thematic, i.e using the film to explore different socio-political themes of identity rather than looking at the methodology she uses as a filmmaker. The analysis of each of the three films looks at a particular form of identity namely national, cultural or personal identity, and makes reference to Nair’s own comments on the films as well as academic articles on the films, her work and issues such as identity, nostalgia, home, belonging, marginalization, immigrants, street children and the like, in order to interrogate Nair’s exploration of the particular ideas within these films. It examines the films as if it were a work of literature, and looks at how it deals with these issues within a filmic context. What symbols does she use to show us we are dealing with cultural identity? Which character is symbolic of the modernist movement? Finally it examines the potential effect of these films on the society from which they derive, and comes to some conclusions about the effect these films may have in challenging, shaping and/or influencing ideas about nostalgia, home, identity, and so on. The discussions of the films show that she has been superbly able to exploit all the advantages of her chosen medium to bring her remarkable visual inventiveness and artistry into play in order to communicate this to an international audience and to make them think about the issues at hand. The filmmaker is finally established not only as simply a creator of film, but ultimately as a thinker and poet.
Funksies van taalvariasie in die Afrikaanse toneelkuns
(Stellenbosch : University of Stellenbosch, 2006-12) Erasmus, Denene; Hauptfleisch, Temple; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
The spoken language usually consists of the formal and standardised component and an informal colloquial language. The colloquial language may include some language variants. These variants are forms of the language that show deviations when compared to the standardised form of the language and are usually spoken by a specific group of people. Sometimes these colloquial variants are used in writing. This study looks at the use of these colloquial variants in theatre scripts. The variants are implemented for various functions in these scripts, which include the metaphoric, the comic, the realistic, the poetical and the political uses as well as the documentation of specific variants. In this research project I discuss the use and functions of a few Afrikaans variants in plays. Other areas of interest include sociolinguistics, the influence of English on Afrikaans and its impact on the future of Afrikaans, as well as a brief discussion of the problematic term Standard Afrikaans.
The H.B. Thom Theatre : an evaluation of its potential as a regional arts and cultural centre
(Stellenbosch : University of Stellenbosch, 2005-03) Esterhuizen, Johan; Hauptfleisch, Temple; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
This study wishes primarily to explore re-positioning the H.B.Thom Theatre as a cultural amenity in the Stellenbosch region. The first step was to place the building of the H.B. Thom Theatre in 1966 in the context of the cultural and political dynamics of the time as well as to trace the cultural politics of the Western Cape in particular during the turbulent years leading to the first Democratic Elections in 1994. The question is asked, to what extent do the changes in the political climate and cultural thinking impact on the use of this important, regional arts facility? A Cultural Impact Study was made to evaluate the scope of cultural production in the region. Alongside this regional study, the past and present utilisation of the H.B.Thom Theatre as such has been thoroughly documented, processed and discussed. Areas of concern regarding the utilisation of the theatre in particular and possible solutions in meeting these concerns have been integrated into the study. The appropriate management structures and artistic vision leading to the establishment of the H.B.Thom Theatre as a Regional Arts Centre have been researched and detailed as well as mechanisms for its incorporation into the University of Stellenbosch’s broader Strategic Framework.
Hoekom drama? : ’n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch
(Stellenbosch : Stellenbosch University, 2008-03) Van Zyl, Yolande; Hauptfleisch, Temple; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
The general aim of this study was to establish why students at Stellenbosch University embarked on a course in Drama. The initial hypothesis was that students were attracted to the expressive, therapeutic features inherent to this field of study. A questionnaire was designed to test this hypothesis. However, in the early stages of the project, feedback from the Drama students of 2005 and, at a later stage, that of the first-year Drama students of 2006 and 2007 proved the hypothesis to be incorrect. The specific questionnaire that was handed out to students also included questions that would enhance the interest value of the survey, such as: “What question was the most frequently asked by your friends and relatives enquiring about your Drama studies?” Responses to the latter question, amongst others, triggered two other pilot studies. The aforementioned studies were conducted among 110 students from different disciplines on the US (University of Stellenbosch) campus, as well as among 65 respondents in the Stellenbosch area, and focused on perceptions around Drama students and the drama profession as such. The final study contained the following three problem statements: 1. Are there any stereotypical prejudices towards Drama students? If so, who and what is the Drama student in terms of personality type and character traits? 2. Are there any stereotypical prejudices towards this field of study and the professional field? If so, what do the field of study and the professional field constitute within the South African context? 3. Why Drama? or rather, what is the purpose of Drama, and what motivates students at Stellenbosch University (SU) to choose this particular profession, given the current perceptions? The supporting theories and the data, though not wholly significant, indicated that a marked degree of stereotyping existed with regard to Drama students and the profession. These perceptions about the students and the related professions have also been validated by the limited number of existing studies that could be found on this topic. Moreover, feedback from 253 Drama students revealed that they had decided to study Drama for a variety of reasons, and not only because a successful career in this field will inevitably lead to stardom and fame, which is contrary to what people generally tend to believe.
Hyperartifical cinema and the art of cool
(Stellenbosch : Stellenbosch University, 2002-04) Bain, Keith Norman; Hauptfleisch, Temple; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
Improvisation and playmaking : a look at some improvisation techniques and their applications during the directing process
(Stellenbosch : Stellenbosch University, 2003-12) Skordis, Ranza (Ranza Nora-J); Hauptfleisch, Temple; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production.
"A just and lively image" - performance in Neo-classic theatre criticism and theory
(Stellenbosch : University of Stellenbosch, 2005-03) Huismans, Anja; Hauptfleisch, Temple; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
The claim that theatre theorists and critics have historically considered the dramatic text a more important part of theatre than the performance is a prominent theme of 20th century theatre theory. This claim was made in various ways, by different theorists in divergent critical contexts. A brief survey of relevant statements by some of these theorists reveals that different things are meant by this claim and that it relates to a range of important critical issues, for example how theatre is defined, how elements within theatre are ranked, authority and autonomy in theatre practice and theory and attempts to control the processes of interpretation in the theatre. We also see that post-structuralist theatre theorists believe that a majority of statements relating to this claim reflect a logocentric attitude in theatre theory. The aim of this thesis is to determine whether this claim is valid when applied to theatre criticism and theory of a particular period, namely Neo-classicism of the 17th and 18th century. Chapters Two and Three consist of a survey of mainly English and French criticism and theory of this period in the context of some of the general philosophical trends of the era. Chapter Two finds that there is a direct link between the rise of Neo-classicism and the trend in philosophy of system-building and that this informs the dismissive attitude to performance that one finds in this era. In Chapter Three we see that the emergence of new directions in philosophy like empiricism encourages a transformation in the critical attitude to performance. Critics acknowledge the importance of the performance to a far greater extent and in some trends in particular, for example the tentative steps towards Realism and the development of acting theory, we see that critics and theorists are starting to insist that all aspects of staging have to be considered. This is due in part because they are concerned with the integrity of the representation and the intentions of the dramatist, so it does not really mean that the text is not, in this era, considered the most important aspect of theatre after all. Chapter Four discusses more systematically how the issues and questions raised in Chapter One figure in the criticism and theory examined in Chapters Two and Three. This discussion finds that to a large extent the claim investigated in this thesis is valid, but that the respective attitudes to ‘performance’ do reflect different responses to many of the same problems, most specifically problems associated with representation.
Luister-leer : die opvoedkundige moontlikhede van die hoorspel in Suid-Afrika
(Stellenbosch : Stellenbosch University, 1999-12) Cruywagen, Eben; Hauptfleisch, Temple; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH SUMMARY: The aim of this study is to ascertain what the nature of educational drama is and whether it would be feasible to apply educational radio drama to help meet the learning needs of South Mrica. In England, the well-known educational radio serial, The Archers, has been broadcast by the BBC with great success since the Fifties. Hitherto radio drama in South Mrica has served primarily as a means to entertain listeners. The study began with research into other didactic forms, such as folklore, drama- and theatre-in -education, industrial theatre and sociodrama, as well as radio and television as educational media. Further information was collected by means of interviews and correspondence. Two experimental radio productions, a series and a serial, were broadcast in Mrikaans in 1997 and 1998 respectively on a national radio station, Radiosondergrense, in an attempt to determine the formula for, and the format of, outcomes based radio drama for a South Mrican audience. Included in this study are copies of scripts (industrial theatre, television drama, radio drama) and the scripts of the two experimental radio productions. Each script is accompanied by an analysis and evaluation. Recordings of the two experiments are also included. According to the results of a professional market research campaign, the outcomes based radio drama proved not only to be a popular educational tool, but also very accessible, since very few listeners felt excluded by such a format. Over and above its inclusive nature, the enjoyment level of the experimental serial drama was ranked among the highest of all (non-educational) programmes by respondents. The knowledge gained through researching available sources, coupled with the results of the market research, was used to formulate a text model, together with hints and directions. With these aids, all language groups in South Mrica may create outcomes based radio drama within the framework of language, culture and listeners' needs.
"Memory is a weapon" : the uses of history and myth in selected post-1960 Kenyan, Nigerian and South African plays
(Stellenbosch : Stellenbosch University, 1999-12) Hutchison, Yvette; Hauptfleisch, Temple; Breitinger, H. E. (Habil Eckhard); Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: In hierdie proefskrif word gekyk na die verwantskap tussen geskiedenis, mite, geheue en teater. Daar word ook gekyk na die mate waartoe historiese of mitiese toneelstukke gebruik kan word om die amptelike geheue en identiteite, soos deur bewindhebbers in post-koloniale Nigerie en Kenya geskep, terug kon wen of uit kon daag. Hierdie werke word dan vergelyk met die soort teater wat tydens die Apartheidbewind in Suid-Afrika geskep is, om verskille en ooreenkomste in die gebruik van historiese en mitiese gegewens te bekyk. Die slotsom is dat een van die belangrikste kenmerke van die teater in vandag se samelewing sy vermod is om alternatiewe historiese narratiewe te ontwikkel wat kan dien as teen-geheue ("counter-memory") vir die dominante narratief van amptelike geskiedenisse. Sodoende bevraagteken die teater dan ook 'n liniere en causale siening van die geskiedenis, maar interpreteer dit eerder as meervoudig en kompleks.
Selected black African dramatists South of the Zambezi
(Stellenbosch : University of Stellenbosch, 2003-04) Litkie, Celeste Avril; Hauptfleisch, Temple; Schauffer, Dennis; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: Late twentieth century theatre studies has been characterised by an expansion of the notion of theatre to encompass an enormous variety of performance-based activities. A range of pioneering academics and practitioners have moved beyond the old European-American paradigm of the literary theatre, to recognize the unique qualities of the performance as a theatrical artefact in its own right. One of the by-products of this paradigm shift has been what some would term the death - or at least diminution - of the dramatist or playwright. Another has been the (re-)discovery of what is vaguely referred to as "African theatre". This study had no intention of taking up the argument about the precise forms and processes that belong under that rubric, nor the many problems associated with such categorizing. It has a much more mundane aim, namely to look at one form of play creation - formal playwriting - in a specified region of the vast African continent, south of the Zambezi. The focus is very specifically on published or written texts, created and produced in South Africa, Namibia, Botswana, Zimbabwe, Lesotho, Swaziland and Mozambique. For a variety of reasons not all these countries could be studied, but enough material was found to arrive at some initial conclusions. In this respect, this is a pioneering study, since no such comparative survey has yet been done. Based on a previous pilot study by Dennis Schauffer at the University of Durban-Westville, the study utilises a process model of the theatrical system proposed by Temple Hauptfleisch (1997) as a frame of reference and a range of four basic kinds of data to answer a number of questions to study the writers and their works. The materials utilized are: 1. Play scripts 2. Biographical data, press cuttings, video recordings, articles. 3. Interviews and interviewer's journal entries. 4. Studies of the socio-political milieu. Data was gathered on 12 writers and their works, as well as some substantial information on community theatre and related forms in the region. The primary authors discussed in some detail are Gibson Kente, Zakes Mda, Gcina Mhlope, Matsemela Manaka, Fani-Kayode Osazuwa Omoregie, Freddy Philander, Vickson Tablah Hangula, Tsokolo Muso (Tjotela mor'a Moshpela), Sonny Sampson-akpan, Andreas Mavuso, and Sipho Mtetwa. With this data the study seeks to address a number of questions concerning playwriting in the sub-continent. These include: 1. a comparison of existing performance forms and their relationships to oral traditions; 2. the influence of socio-political contexts on the works produced; 3. the relationship between plays and the other media, such as film and television; 4. a consideration of audiences (or target audiences) and their impact on the form and content of works; 5. the impact of the nature of, access to and availability of venues; 6. the role played by funding and relationships to state institutions; 7. language choices and their impact on the arts; 8. And finally, the interesting question of cross-cultural encounters and their influence on the forms of theatre in the region. This set of questions provide the context for a study of the variety of theatrical and performance output generated in Africa, south of the Zambezi, and to identify some common and/or divergent cultural influences in the works of the selected black African dramatists in the southern sub-continent of Africa. As expected, one such common denominator was the oral tradition, the other was the colonial heritage of western, Eurocentric theatre and literary practices. The dynamic between these traditions proved to be a point of some interest, but also posed many methodological problems. Two other major factors in many of the countries have proven to be the lack of a strong theatrical infrastructure and divergent audience expectations, which have led to a proliferation of non-formal and applied theatre processes (e.g. in political theatre, popular theatre, community theatre, theatre for development, etc), which in their turn pose their own methodological problems for researchers. In the final analysis, given the restraints under which the candidate had to work, the study could only look at some interesting but selected authors, who in their works seem to illustrate some of the variety and energy of the widely dispersed region. Hopefully in doing this it provided a few broad indications of important trends. More importantly perhaps, the study did identify a number of areas for future research. It would seem that, besides a tremendous need to do considerably more work on the collection and archiving of data on theatre and performance systems, practitioners and practice in Southern Africa, there are at least three additional areas of research that require particular attention: 1. the development of an appropriate theatre research methodology for application in the region; 2. a study of the role played by foreign nationals; 3. the setting up of a national and continent-wide database on theatre in Africa.
Shorts : the potential role of the short film in the development of the South African film and television industries
(Stellenbosch : Stellenbosch University, 2000-03) Maasdorp, Liani; Hauptfleisch, Temple; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: The study starts with a general analysis of the South African film industry and finds that lack of funding, the shortage of dedicated, industry-accredited training, the political climate of the past, censorship, the subsidy system, local distribution problems, and the success of Hollywood films have all played a part in bringing about a veritable dearth in local film production in South Africa. While the local film industry may not be able to repair itself fully in the short term, I do believe the energy and talent is there to start making a concerted effort to actively stimulate the production of a wide variety of local films to kick-start the healing process. I believe short films (shorts) have the potential to play an important role in this process, and the bulk of the study explores this idea by looking at the nature, form, and potential of shorts as well as the processes involved in their production. I fmd that the short film is the ideal medium for experimentation and development, and can serve as a valuable teaching tool in film and television training. As importantly, the short is one of the best mediums of empowerment for disadvantaged filmmakers, due to the relatively small size of its budget. Shorts have the ability to playa part in stimulating the growth of the local film and television industries, and in redressing socio-political imbalances of the past in a country where film was previously used as a tool of propaganda and oppression. It seems clear from the examples of other small film industries internationally that the encouragement, through innovative funding initiatives and international co-productions, of vibrant, authentic local short and feature film production can play an important role in strengthening the local film industry. It can be beneficial to stimulate the production of shorts in particular, as this will enable new and experienced filmmakers alike to experiment and develop ideas and techniques, thereby also developing the industry as a whole. Among the specific suggestions made in the thesis are the implementation of a quota system governing the screening of local productions, the stimulation of film literacy through establishing film festivals and a short film website, the stimulation of short film production through public and private funding and co-productions, and the advancement of film training. In addition, local broadcasters could be encouraged to participate more in funding feature and short film production in order to stimulate the development of a healthy, viable film industry in South African. South Africans can gain a lot from a healthy film industry - an increased number of employment opportunities, improved training institutions, an increase in tourist activity, and a medium that can serve as a form of expression and a forum for discussion. We still have a long way to go before these projected gains become an everyday reality, but it seems that shorts can, and must, play an invaluable part in taking local talent and the South African film industry as a whole to a level of performance where it will be able to exploit these opportunities to the full.
Die slagveld van teks en betekenis : enkele aspekte in die dramatiek van Breyten Breytenbach
(Stellenbosch : Stellenbosch University, 2003-12) Du Preez, Petrus; Hauptfleisch, Temple; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: The productions of Breyten Breytenbach's dramas created unprecedented (negative) reaction amongst the audience members. The themes and the representation of these themes through the use of language and images caused the alienation of many audience members. One of the main causes of alienation was the problem the audience had in understanding the text. The two Afrikaans dramas, Boklied and Die Toneelstuk will be placed in the postmodern theatrical tradition to give a methodology for the reading of the texts. The study also examines the nature of intertextuality to show how the use of intertextuality helps to create meaning. The theatrical productions bring the texts to life and therefore the study will also refer to the productions of these texts. The experience of a postmodern theatre piece does not imply that no meaning can be attributed to language and action. The attribution of meaning in production and texts like Boklied and Die Toneelstuk is not always based on the use oflanguage. The audience/reader of these texts becomes the cocreators of meaning. This study tries to show a range of interpretations and possible meanings of these texts.
Speel-speel van leesbot tot leesversot : ’n ondersoek na die aanwending van voorlees in kombinasie met drama as ’n pedagogiese hulpmiddel tot die ontwikkeling van leesliefde by leerders
(Stellenbosch : University of Stellenbosch, 2011-03) Zwiegers, Marlene; Hauptfleisch, Temple; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: Research has shown that children are not reading books for their enjoyment anymore. Also, children living in unfavourable socio-economic circumstances are raised without any book culture. The absence of a love for reading and low levels of literacy cause children to have problems to read in order to learn. In this small-scale empirical research project with an experimental group of eighteen Grade 3 learners from a poor socio-economic community and school in the Northern Cape, the researcher sought to determine whether drama could be used as a pedagogic aid to increase the learners' joy in reading. Thus different drama methodologies were utilised over a period of three years (from Grade 3 to Grade 5), primarily to inspire learners to enjoy books and reading. The research results have shown that in the experimental group reading levels gradually improved, library membership increased, most members of the group began to read on their own and a change to a positive self-image was reported. The control group in the same school also showed an improvement in their reading levels, but not to the same extent as was noted in the experimental group. It was apparent that the dramatisation of stories as a methodology had had a significant positive impact of the lives of the experimental group. Although this was a pilot study, there is a strong indication that the results can be utilised for further research.
Die tegniek van geen tegniek : 'n ondersoek na kontak improvisasie in Suid-Afrika, met spesiale verwysing na die werk van Lanon Prigge en Samantha Pienaar
(Stellenbosch : University of Stellenbosch, 2006-03) Joubert, Anel; Hauptfleisch, Temple; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
The actor uses the body in different ways when communicating with the audience. Physical theatre focuses less on the voice and more on the rest of the body during communication with the audience. Contact improvisation serves as training for the actor or dancer so that he or she can learn more about how the body communicates. This form of movement works mostly with the inner rather than the outer feelings. The focus is not on what the movements look like, but on what the improviser experience through the movements. Lanon Prigge and Samantha Pienaar developed various exercises that make the practicing of contact improvisation easier. These exercises serve as basis for their way of jamming. Their focus is not on technique, but on the physical skills en personal growth the improvisers experience through contact improvisation. Contact improvisation is associated with dance and acting, but is also recognised for its therapeutic quality. It has the ability to give insight to the emotional state of the improviser. Therefore it is also practiced in the field of therapy.
Theatre for development in Kenya : in search of an effective procedure and methodology
(Stellenbosch : Stellenbosch University, 2005-12) Odhiambo, Christopher; Hauptfleisch, Temple; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This is a study of Theatre for Development (TfD) in Kenya. It is an attempt to map out and describe different manifestations of the practice which would, in a way, act as a critical model for practitioners and other stakeholders. However, this is in no way an attempt to provide a rigid all-purpose theoretical model, but nonetheless to offer ways, through a description of aspects of Theatre for Development, within which and through which social and behavioural transformations in this eclectic field may take place. To this end, case studies of a few indicative and contrasting examples of Theatre for Development will be used to provide a mirror which will enable its practitioners to reflect upon and critique their own practices as a way of achieving optimum effectiveness. The works of Paulo Freire and Augusto Boal provide the study with a theoretical model in which its basic assumptions and arguments are tested and developed. These two authors, whose works are related in many ways, privilege the use of participatory approaches in the process of creating critical consciousness and promoting change in the individual and in society; these are fundamental requirements in any meaningful practice of Theatre for Development. The findings of this study reveal the discursive and eclectic state of the practice of Theatre for Development in Kenya as originating from a multiplicity of factors such as the skills (or lack thereof) of the practitioners, government interference and the prescriptive agenda and demands of the project funding bodies, institutions and agencies as well as the proliferation of NGOs using Theatre for Development but lacking its foundational philosophy and methodology. This study therefore suggests that, for the enterprise to be more effective and efficient there is a serious need to reflect critically on its procedures and methodology in order to improve and guide its operation. These fundamental aspects include collaborative research, codification, interactive participation, and facilitation and intervention, and are not prescriptive matters but descriptive, arrived at through a critical analysis of a number of Theatre for Development activities in Kenya. Ultimately the research process has thus highlighted a number of weaknesses and strengths in the practice of Theatre for Development in Kenya. Because Theatre for Development is a performance event, the study utilised both quantitative and qualitative research methods. This was necessary, because the study depended on a bibliographical review, unstructured interviews and action research, where the researcher participated in Theatre for Development projects, happenings and related activities
Theatre in a new democracy : some major trends in South African theatre from 1994 to 2003
(Stellenbosch : University of Stellenbosch, 2008-03) Van Heerden, Johann; Hauptfleisch, Temple; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
Following the socio-political change in South Africa after the democratic elections of 1994 the relationship between the state and the arts changed markedly. Whereas, under apartheid, the white population groups benefited greatly from government support for the primarily Eurocentric cultural heritage and the arts, the new South Africa recognised a multi-cultural and multi-lingual population whose every human right was protected under the new Constitution. Under the new government priorities shifted and this resulted in a transformation of the state-subsidised Performing Arts Councils and generally in the financial dynamics of the arts and culture sector. During the first decade of democracy an arts festival circuit emerged which provided opportunities for specific population groups to celebrate their cultural heritage and also for new independent theatre-makers to enter the industry. After the demise of apartheid there was no longer a market for the protest theatre that had become a hallmark of much South African performing arts in the 1970s and 80s and the creative artists had to discover new areas of focus and find alternative creative stimuli. This dissertation identifies and examines a number of major trends that emerged in the professional theatre in post-apartheid South Africa during the first decade of its new democracy.
Training the student actor in the production process : a look at areas in which a director within a training institution can facilitate the learning process in a student actor
(Stellenbosch : Stellenbosch University, 1997-03) Schultz, Waldemar; Hauptfleisch, Temple; Pretorius, H.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: A thesis in which the author examines ways in which the director within an acting training institution may use the full-scale theatre production as a means of intense training for the students involved. The author contends that much of the theory and practical work taught within a classroom situation cannot be fully comprehended and/or brought to fruition if it is not tested and experienced within as realistic (pertaining to professional theatre) as possible a scenario, in the form of the student production. For the purposes of this thesis, the typical practical production process is used as a model and different areas in which the director may act as a teacher or catalyst to self-discovery are discussed largely in the order in which they might occur in practice. The author concludes that to provide intensive training through the production process would be a very time-consuming and costly endeavour, although very rewarding if it were at all possible. In addition to this, it would require a highly qualified director-trainer, with an holistic understanding of the 'theatrical art, who is prepared to invest a great amount of time and effort in such a production. Research for this thesis included reading material, practical directing and acting projects, and teaching practical acting in the capacity of a part-time lecturer at the University of Stellenbosch Drama Department.
“…we must not hold our fears…” A Case Study exploring the use of Group Dramatherapy as a Therapeutic Intervention with Children and Adolescents Living in Poverty.
(Stellenbosch : University of Stellenbosch, 2006-12) Koekemoer, Kaye; Hauptfleisch, Temple; Schiff, Heather; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
This thesis explores the potential of group dramatherapy as an effective therapeutic intervention with children who are experiencing psychological difficulties related to their situations of poverty. It has been found that living in poverty causes children to grow up in an environment that is damaging to their mental, physical, emotional and spiritual development. The emotional issues that such children could experience and that are focused on in this study, are those of a negative self-concept and low self-esteem. The psychological difficulties and the different life stages that children or adolescents might be experiencing could contribute to difficulties in the verbal expression of thoughts and feelings. As a result the potential of a non-verbal therapeutic medium such as dramatherapy was explored with this client group. The use of dramatherapy to treat these emotional problems is first explored theoretically and then practically through the use of a case study. The case study takes the form of a participatory research study and this involved a dramatherapy intervention with a group of six participants at a school in Cape Town. The dramatherapy group was led by myself and two other Masters students from the University of Stellenbosch under the supervision of our lecturer, Heather Schiff, who is a trained dramatherapist as well as a clinical psychologist. During the dramatherapy sessions, drama structures were utilised with the aim that they might bring about a stronger sense of self for the group’s participants. Through the case study one can determine that the dramatherapy sessions did seem to bring about changes in some of the group participants, with regards to the perception and presentation of the self and increased self awareness and self-esteem. At the end of the dramatherapy sessions the group participants seemed to have a more realistic perception of themselves and also seemed to have developed with regards to self expression. It is also hoped that by expressing themselves through different dramatic techniques, the group members were also able to develop a fuller understanding of who they are.
When the known world dissolves : representations of the white male on the South African stage in the transitional years (1980-2000)
(Stellenbosch : Stellenbosch University, 2014-04) Borthwick, Hannah; Hauptfleisch, Temple; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This study explores the representation of the white male character in various South African plays from the period 1980–2000, a time when South Africa was experiencing severe changes and upheavals as a result of the crumbling of the apartheid state and the dawning of a new, democratic and „free‟ South Africa. Taking into account a number of appropriate philosophical and sociological theories (for example 20th century western concepts of whiteness and masculinity), the thesis looks at the way in which such an enormous social and political transformation was able to influence the life and reality of the individual white man and his reactions to it. By considering the interaction of collective and personal identity within the framework of a changing South Africa, the study explores some of the ways in which such interactions may create insecurity and threaten the foundations of a particular cultural or ethnic group. . The focus of the study is an analysis of selected works by playwrights Paul Slabolepszy, Greig Coetzee, André P. Brink and Deon Opperman, and focusses specifically on three predominant themes identified in the plays, namely: recognition, dangerous insecurity (ressentiment) and the ever-present past. These themes are used to explore and illustrate a particular cultural group‟s psyche (as well that of its individuals members) during a specific period in South African history and, to a certain extent, their attempts to redefine their identities. These are characters (and thus, one may infer, playwrights) who were all trying to make sense of a tumultuous past, an insecure present and an uncertain future, and trying to understand their own contribution to and place in it. The final conclusion is that the South African white male was going (is going?) through a form of collective, existential, “mid-life crisis”, one in which they needed to accept that they had become outnumbered and were in a sense alone in their crisis. They were forced to compromise their collective identity in this new reality, a situation epitomised by the way they seek to construct (new) personal identities in order to adapt. A final conclusion is that this is an ongoing process clearly displayed by the new work on offer at contemporary arts festivals.

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