Department of Drama

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An analysis and proposed expansion of the market for theatre for young people in the Western Cape
(Stellenbosch : Stellenbosch University, 2008-12) Pretorius, Louis; Kruger, M. S.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
Theatre for young people (TYP) is the umbrella term for all theatre created by professional actors for the age group 2 to 25. Within this term there is a form or genre that creates theatre for the ages 13 – 18 with the specific purpose of entertaining these audiences rather than educating them through other forms such as Theatre-In-Education. The aims of this study are to firstly establish to what extent this phenomenon exist within the Western Cape and secondly, if it is found lacking to look at the challenges and opportunities that can arise when introducing this form into the market. There are three reasons why this form should be introduced into the Western Cape’s TYP market. Firstly, theatre is more than just an educational tool for younger audiences and young people deserve the same cultural rights as adults. Secondly, many industries already approach young people as a separate market and theatre needs to adopt the same approach. Lastly, theatre for the age group 13 – 18 is an important part of audience development and should be pursued if theatre wants to expand its market base. To establish what the current strengths and weaknesses of the TYP industry in the Western Cape are, an international frame of reference must be created. The government policy and TYP industry structure of four countries, namely Australia, Denmark, England and The Netherlands are used to create a broad framework from which specific TYP companies and festivals within these countries are discussed. Some general challenges facing TYP in these countries are also highlighted and these elements then form the framework for comparison. The same elements within the TYP industry of the Western Cape – government policy, the TYP industry, companies and festivals – are also discussed and then a comparison between the countries and the Western Cape is made. Based on this it becomes clear that the age group 13 – 18 is grossly neglected when it comes to theatre as form of entertainment as TYP companies in the Western Cape focus mainly on children and educational theatre. From this the challenges that face creators of TYP as entertainment within the larger South African society are highlighted and also made applicable to the Western Cape. The definition of theatre in a multicultural society, the economic situation of the country, the general attitude of society towards theatre, the problematic nature of the youth market and funding structures are identified as possible challenges for TYP in the Western Cape. There are, however, also opportunities for TYP as entertainment within the industry. By using the concept of branding and existing structures in the youth market it is possible to raise the presence of TYP as entertainment form. Youth theatre, educational institutes and the current adult festival circuit of the Western Cape are all possible platforms through which the brand of TYP as entertainment can be introduced and work in symbiosss with the current theatre industry.
Children's theatre : in search of an approach to theatre by children, for children
(Stellenbosch : Stellenbosch University, 2005-03) Wood, Margot; Kruger, M. S.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: Children's Theatre, although appreciated by participants, has largely been marginalized, even by practitioners in theatre. It is still viewed as a lesser form oftheatre and as a dumping ground for resources from adult theatre. There are two main areas of focus as far as the field of drama for children is concerned. Both areas are based on the notion that play is an important and beneficial part of child development and that dramatic play is a natural development of free play. This study examines the similiarities and differences between the two approaches. The one area concerns itself with creative or educational drama where the child participates in drama activities, usually within a classroom situation. The other area, which is, in fact, the main focus of this study, concerns itself with theatrical presentation for children, i.e. Children's Theatre. Children's Theatre, with adults as the performers, is the most familiar form of Children's Theatre and yet, the one form which directly influences most children, in particular through participation in the school play, is Children's Theatre where children are the performers themselves, in other words, a form of participational theatre. This form of theatre has the potential for influencing children's lives immensely and yet it is often left to persons with no expertise in the field to lead such projects. The opportunity for truly enriching the participants' lives is often lost through poor methodology. Historically, the aims and values set for Children's Theatre have also undergone development to the point where a synthesis has been reached where equal emphasis is to be placed on the quality of the end product as well as the process by which such end product has been reached. A number of problems and issues specific to working in Children's Theatre are examined as they occur in different settings. These include problems concerning script, venue, the child audience and audience participation and problems dealing specifically with the process of directing a cast of children. Possible solutions to these problems are investigated. An approach, based on the theories of practitioners in the field, as well as the results of a number of practical projects, will be formulated. The practical projects will be used to investigate certain viewpoints expressed by practitioners in the field. The approach formulated should not only encourage work of a high artistic standard but should also be based on sound educational principles. Central to this is the approach and style of the director who, in Children's Theatre, is far more than just a director of a theatrical presentation. The director in Children's Theatre is always teacher and director at once.
Contact improvisation as a foundational learning tool for contemporary performers : singular complexity
(Stellenbosch : Stellenbosch University, 2015-04) Prigge-Pienaar, Samantha; Kruger, M. S.; Hofmeyr, J. H. S.; Sellenbosch University. Faculty of Arts and Social Sciences. Dept of Drama.
ENGLISH ABSTRACT: This artistic research dissertation employs the principles and practices of contact improvisation in a literary performative to describe and demonstrate this somatic form’s potential as a complex system of embodied knowing. For strategic and thematic purposes, chapters in this dissertation are referred to as Streams. The First Stream motivates the methodological approaches and emergent strategies employed in the researcher’s simultaneous practices of teaching, researching and writing about contact improvisation. The Second Stream is offered as an oral testimony of the researcher’s attempt to find practical solutions for the increasing complexity apparent in her work environment during the last two decades. It is written primarily as a first-person narrative with references by other somatic and contact improvisation practitioners embedded in the body of the narrative and presented as personal subconscious/collective unconscious interjections. The Third Stream uses a locally-emergent artistic research strategy termed Secondary Primacy to critically and creatively engage with existing literature. The observations of theorists and practitioners from the researcher’s own context (theatre and drama), as well as from a diversity of interrelated disciplines (including psychology, sociology, evolutionary biology, quantum physics, pedagogy and visual art) are presented in an autonomous authorial voice employing the performative strategy of what if. This strategy serves to demonstrate the researcher’s experience of the link between personal subconscious and collective unconscious motivations for action and exposes the transdisciplinary ground upon which many of the ideas and observations voiced in other Streams, in particular about contact improvisation as a complex system of embodied knowing, are implicitly dependent. The Fourth Stream discusses contact improvisation as a complex system foregrounding the particular characteristics of nonlinearity, paradox, emergence and additional capacity introduced in the Second and Third Streams. The Fifth Stream demonstrates convergences and overlaps between contemporary theories about agency, embodiment and transformation as they may apply to educators in tertiary educational performing arts contexts. This discussion is interspersed with accounts of the researcher’s own attempts – through her performing arts educational practice - to understand agency and transformation as workable elements. The Sixth Stream is offered as a personal philosophy of action. The implicit values and strategies of the researcher that were exposed in previous Streams are here distilled and presented as affirmations and Actions motivating the sustained use, by the researcher within her localized educational context, of contact improvisation as a foundational somatic approach for performers. In keeping with the positioning of this dissertation as artistic research, the literary framing devices of a Foreword and Afterword are used to draw a reader’s attention to the practicebased nature of the subject under discussion.
Drama-opleiding : ’n ondersoek na die aard, implementering en uitkomste van kurrikula in Suid-Afrikaanse skole
(Stellenbosch : Stellenbosch University, 2012-03) Pretorius, Mareli Hattingh; Kruger, M. S.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: In the past drama education was an uncommon occurrence in South African schools, limited to the elective subject Speech and Drama at secondary level, which was only offered in a few schools in some of the provinces. The assumption is made that the introduction of Arts and Culture as one of the eight learning areas in Curriculum 2005 has greatly impacted on drama education at school level. This study aims to determine the state of affairs with regards to drama education within the current (2011) education system by investigating the nature, implementation and outcomes of drama curricula in South African schools. In the context of the far-reaching changes that has occurred in South African education since 1994, a historical overview of education before 1994 is given to act as a backdrop for a discussion of the process of education reform. The shift to an outcomes-based education approach is investigated by defining and discussing it in relation to the chosen South-African approach; identifying and discussing the theories and philosophies underpinning an outcomes-based approach to education; and looking at the national curriculum from its introduction as Curriculum 2005 until the recent revision of the National Curriculum Statement (Grades R-9), which will be phased into schools from 2012 as the Curriculum and Assessment Policy Statement. A comparative evaluation of the drama curricula in the current (2011) National Curriculum Statement (Grade R-12) and the drama curricula in the revised Curriculum and Assessment Policy Statement serves as the means to determine the nature, content and outcomes of the drama curricula. The Africanisation of the drama curricula is investigated and it becomes apparent that indigenous knowledge, traditions, customs and cultural practices are successfully included in the drama curricula. The comparative evaluation also leads to the conclusion that the revised national curriculum is a definite improvement on the status quo. Through the investigation of the nature and outcomes of the different drama curricula, it is possible to identify specific requirements for the successful implementation of drama curricula. With these requirements in mind possible challenges and/or problem areas with regards to the implementation of drama curricula are determined and discussed. These challenges and/or problem areas are the following: the curriculum itself, the socio-economic circumstances of schools and learners, language issues, the status of drama education at school level, time allocation and management, funding and infrastructure, and teacher training.
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.
Gemeenskapsgebaseerde teater : 'n Suid-Afrikaans georienteerde ondersoek
(Stellenbosch : Stellenbosch University, 2002-12) Brand, Amelda; Kruger, M. S.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: Creative expression is influenced by social structures and the political climate of the day. Therefore theatre as a social structure has been directly influenced by colonialism and apartheid. Restricting legislation had a limiting influence on cultural activities and freedom of creative expression. The following terms all refer to community based theatre activities: Community Theatre, Popular Theatre, Theatre for Development, People's Theatre and sometimes Workshop Theatre. Community theatre in post-colonial African countries take place in locations easily accessible to the communities it serves. These activities make use of creative techniques that the target communities can identify with. The subject-matter is generally relevant and is therefore accessible. The conscientisation- and mobilisation-potential of community theatre become evident in post-colonial African countries. The uses of this term in South Africa is closely connected with the above, but the applications in practice are more diverse because of a longer period of Western influence. Popular Theatre encapsulates theatre activities focussing on mass-appeal and popular entertainment as well as theatre activities by and for marginalised communities. "Popular Theatre" activities that take place within marginalised communities make use of collective creative approaches that are aimed at community conscientisation and mobilisation. Like Community Theate and Popular Theatre, Theatre for Development is theatre for, by and of the people (marginalised people, ordinary workers and the unemployed). Certain Theatre for Development projects approach the target communities with pre-planned agendas and creative subject-matter. Theatre for Development, like other community based theatre forms, are aimed at conscientisation, mobilisation and organisation to encourage political liberation and promote a higher standard ofliving. Workshop Theatre encourages people to express themselves by using a democratic and collective creative approach. These characteristics are also present in the previously mentioned theatre forms. Community Theatre, Popular Theatre and Theatre for Development can all be categorised as community based theatre and the terms are interchangable in pracitce.
Ikoon en Medium: die toneelpop, masker en akteurmanipuleerder in Afrika-performances
(Stellenbosch : University of Stellenbosch, 2007-12) Du Preez, Petrus; Kruger, M. S.; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama. Centre for Theatre Research.
This study aims to describe the puppet, mask and actor as icons or mediums in performance in Africa. The types of performances that will be discussed are religious performances, as well as liminal and hybrid performances. It is in the cases where the mask and puppet are used in religious performances, such as rituals, that the iconic characteristics or values are added to the mediumship of the object. In such cases, these objects do not represent concepts/thoughts/persons/spirits; they are these things in the space of the ritual. Matters pertaining to representation and acting are discussed, since iconic representation does not allow for acting from the performer. The actor can function with, or independently, as an icon, while all these performance elements can function as mediums in a performance using acting or role-play. These different concepts are then applied by discussing the term performance. The different elements of a performance and its characteristics – such as the use of time, space, objects, productivity and rule of a performance – are explained. The creation of a performance through the use of restored behaviour as well as the possible results of a performance in the sense of transportation and transformation as temporary or permanent changes in the performers or audience members is then addressed in the discussion. Different performance genres such as rituals and social drama will be used to describe the function of the mask, puppet and actor in liminal and liminoid performances, and to show how these different performance objects function as icons and/or mediums in these genres. Hybrid forms of performance that cannot be classified as purely liminal or liminoid performances are also studied, since these types of performances are often found in contemporary performances in Africa. The production Tall Horse is used to apply performance theory to see how the different performance objects function in changed context in a hybrid performance.
Kabaret as moonlike teatervorm vir sangers met 'n klassieke sangorientasie
(Stellenbosch : Stellenbosch University, 2008-03) De Villiers, Jacobi; Kruger, M. S.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This study was initiated to gain insight into cabaret as a form of theatre for the migration of singers with a classical singing orientation. It researches a form of music theatre known as entertainment cabaret, which is individual by nature, as it is not bound by convention. The study entails a discussion of the nature of cabaret as a diverse form of theatre. It illustrates the role of the artist and the genre’s music style in researching structure, to determine differences and similarities in the frameworks of cabaret and opera, with specific reference to classical singing. Currently there is an abundance of musical theatre genres, and cabaret is not differentiated as an individual genre. This leads to problems in the definitive classifying of cabaret, as well as the bridging of a singer with a classical singing orientation migrating to cabaret. The study researches the concept of, and reasons for, this migration in South Africa. The qualitative research method, which makes use of in-depth interviews to gain insight, generated a wealth of information about the realities in South Africa. This method introduces a new method of acquiring information, where the changes of the last few years had a tremendous impact on the careers of performing artists in South Africa. For this reason, artists with a classical singing orientation must have a choice to take action; to generate their own opportunities. The main findings and the need for multi-talented artists to adapt to the different styles of genres were analysed in the theoretical section, followed by a discussion of the respondents’ feedback selected to contribute to this study. The gap in skills between the cabaret artist and the classical singer is identified to showcase and define the possibility of cabaret as a form of theatre for classical singers. New categories are generated in which ideas of how development can be adapted are laid out.
Kabaret as moontlike teatervorm vir sangers met 'n klassieke sangorientasie
(Stellenbosch : Stellenbosch University, 2008-03) De Villiers, Jacobi; Kruger, M. S.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This study was initiated to gain insight into cabaret as a form of theatre for the migration of singers with a classical singing orientation. It researches a form of music theatre known as entertainment cabaret, which is individual by nature, as it is not bound by convention. The study entails a discussion of the nature of cabaret as a diverse form of theatre. It illustrates the role of the artist and the genre’s music style in researching structure, to determine differences and similarities in the frameworks of cabaret and opera, with specific reference to classical singing. Currently there is an abundance of musical theatre genres, and cabaret is not differentiated as an individual genre. This leads to problems in the definitive classifying of cabaret, as well as the bridging of a singer with a classical singing orientation migrating to cabaret. The study researches the concept of, and reasons for, this migration in South Africa. The qualitative research method, which makes use of in-depth interviews to gain insight, generated a wealth of information about the realities in South Africa. This method introduces a new method of acquiring information, where the changes of the last few years had a tremendous impact on the careers of performing artists in South Africa. For this reason, artists with a classical singing orientation must have a choice to take action; to generate their own opportunities. The main findings and the need for multi-talented artists to adapt to the different styles of genres were analysed in the theoretical section, followed by a discussion of the respondents’ feedback selected to contribute to this study. The gap in skills between the cabaret artist and the classical singer is identified to showcase and define the possibility of cabaret as a form of theatre for classical singers. New categories are generated in which ideas of how development can be adapted are laid out.
Kabaret as sosiale en politieke kommentaar : 'n ontleding van die aanwending van die komiese, satire en parodie
(Stellenbosch : Stellenbosch University, 2008-03) Van Zyl, Annelie; Kruger, M. S.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This study examines cabaret in South Africa, and more particularly the use of a personation in cabaret. Cabaret employs a variety of comedic forms that combine to comment on social and political issues. The personation is often a manifestation of current social and political values, and the cabaretist uses such personation to deride these values and expose society. Themes such as human nature and life are foregrounded by means of comedy, parody and satire in order to highlighted weaknesses and malpractices. The personation often serves as a shield, affording the cabaretist the freedom of speech to assume a critical stance; it serves as a mouthpiece for enquiring societal mores and norms. The cabaretist not only entertains the audience in a comical way, but also strives to make audiences aware of social and political irregularities. Comedy, parody and satire are found in various forms of entertainment and literature, but in the cabaret genre it is purposefully applied to voice socio-political criticism. The success of cabaret is indebted to each caberetist’s unique style. South African performers such as Pieter-Dirk Uys, Casper de Vries and Hennie Aucamp apply these means successfully to entertain their audiences and encourage reflection. The cabaret persona, drawing upon comedic devices, is used to present reality as opposed to the human ideal, while treating the audience to a lighter view of life. Apart from the fact that cabaret, like comedy, parody and satire, is difficult to define, these forms often overlap, as they serve the same purpose, namely to entertain and to comment.
Klankproduksie : 'n ondersoek na die spraak- en sangstem
(Stellenbosch : Stellenbosch University, 2005-03) Rademan, Daniel Johannes; Kruger, M. S.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: Actors and singers mainly use their voices as theatrical communication instruments. The production of sound - for singing, speech and other derivatives - makes use of the same physiological mechanics. This indicates that the anatomical components are applicable to all of the the above mentioned. The goal of exploring the anatomy and physiology of the voice mechanics is to enhance the artist's and the theoretic's awareness of the dynamic process. Even though it does not replace technical training in voice production, it is still of cardinal importance. By being in possession of a worthy knowledge of the voice and body as an instrument of unity, singers and actors can challenge their instruments to the maximum. In this way professional vocal artists can finally come into contact with their humanness to create a mature character on stage. The correct body posture, breathing methods, resonance and articulation play an important role in ensuring good projection. Successful projection and resonance can only take place if the whole of the sound production instrument is working in a physiologically correct manner. Research has been done on the leading theater theorists' expectations of the regarding voice production. It was specifically their opinions that initiated the modern approach to sound production in terms of speech and singing in the modern theatre. A sound production experiment, focusing on the challenge of the human voice, was staged as a theatre production, and was analysed. The presentation was predominantly based on the ideas of the directors. These ideas were discussed in the previous chapter. This study explores the phsyiological mechanism that produces sound to promote the creative commerce with sound.
Kontemporere woordkuns as teatergenre : 'n ondersoek na die aard van die vorm van die werke van enkele Stellenbosche woordkunstenaars
(Stellenbosch : University of Stellenbosch, 2005-03) Hattingh, Mareli; Kruger, M. S.; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
Oral Art (Woordkuns) as a performing art form is a burgeoning independent theatre genre that has developed especially over the last decade with the rise of the national arts festivals. By investigating the literary term word art, the eclectic nature of oral art as a theatre genre, the oral art text and the role of the visual within an oral art performance, we are able to give a paraphrase or definition of oral art as a theatre genre. Oral art as a performing art form can firstly be defined with reference to the origins of the oral art text, namely an existing work(s) that originated as a non-dramatic literary work(s) and that is revisited within a new context; secondly a shift in the dramatic presentation from physical action to the spoken word. The eclectic nature of oral art is a further characteristic of this theatre genre. Oral art has the ability to change in form and function and not only can it be biographical or autobiographical, but it can also be socio-politically intended. The hybrid nature of oral art – oral art texts combine in many cases works from different genres – also shows many similarities with other theatre genres like cabaret and black political protest theatre. Three possible structures are identified within the oral art text, namely an episodic structure, a developing story line or argument and a compilation consisting of a number of short stories or narratives. The oral art text can be compiled from a number of literary genres and the choice of material is determined by the overarching theme and the format of the performance. Visual elements support the oration within an oral art performance. The different types of texts used in the compilation of an oral art program determine the presentation style and stage composition. Physical action is representational rather than realistic. The use of décor, props, costumes and lighting are minimal and multi-functional.
'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.
'n Ondersoek na Kristin Linklater se benadering tot stemontwikkeling
(Stellenbosch : University of Stellenbosch, 2008-03) Van der Merwe, Schalk Willem; Kruger, M. S.; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
In a study of Kristin Linklater’s approach to voice training the concept of the natural voice and the freeing of it stands central. The natural voice according to Linklater is that voice which is naturally produced by the voice-organs without any restrictions that can inhibit it and thus have a maximum potential for the use during speech/work. The opposite to the natural voice is the unnatural voice, which can be described as the production of speech in such a manner that it is restricted or inhibited by conscious or unconscious means. Linklater’s approach focuses on the recognition of the natural voice and the freeing it from negative habits. Her freeing theory with regards to the natural voice consists of the junction of the acknowledgment of physical and psychological habits in the body with the aim of strengthening the natural voice and not only to teach new vocal techniques and habits. The process of freeing the natural voice consists of recognizing and eliminating negative speech and voice related habits. Linklater’s approach to voice training is not unique. The approaches of the other voice theoreticians such as Berry, Rodenburg, Houseman and Lessac have the same kind of approach to voice training (wich includes the concept of the natural voice). Al though some differences occur in connection to their approaches to the roots of habits and the conditioning of voice habits and the eventual freeing of the natural voice through unlearning of the habits that suppress the natural voice.
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.
Die relevansie van sangvaardighede as deel van die akteur se stem- en spraakopleiding
(Stellenbosch : Stellenbosch University, 2000-12) Stoltz, Christelle; Kruger, M. S.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: The actor's work consists of communication, in other words the transfer of intellectual and emotional ideas. The voice is undoubtedly the most important means of auditory communication. The development and maintenance of the actor's voice is, therefore, an essential requirement for effective communication. The vocal development of actors and singers is aimed at releasing the breathing process, the passage of sound through the body and the organs of articulation, as well as the elimination of obstructive psychophysical inhibitions. The same body parts are used for the production of sound in both speaking and singing. The vocal instrument may be divided into three parts, namely the respiratory system, the glottic system and the resonators. The structure and functioning of the voice as an instrument is in many respects somewhat complex. Knowledge of the structure and functioning of the vocal system facilitates the prevention and elimination of speech problems. Speech and singing, as subdivisions of voice production, are both closely linked to the functioning of certain body parts, and it is for this reason that singing helps to improve speech. For instance, because singing demands a larger breath capacity and greater breath control, singing techniques contribute positively to the development of the actor's voice. Various voice production errors and problems encountered in actors, such as breathing-related problems, defective resonance adaptations and defective projection, can be eliminated by means of technical exercises. An analysis of the techniques for speech and singing reveal such a strong coincidence that they can both be classed as voice production techniques. A singing-based approach to vocal training will, therefore, have only a positive effect on the actor's voice production.
Theatre as intervention tool in HIV/AIDS education with specific reference to “Lucky, the hero!”
(Stellenbosch : Stellenbosch University, 2012-03) Davis, Heloise Victoria; Kruger, M. S.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: HIV/AIDS has escalated into a global health pandemic. Africa has emerged as the most severely affected continent with more than half of the world’s HIV infected population residing in Sub-Saharan Africa. Consequently various awareness campaigns have been launched in attempts to stifle the rapid spread of the pandemic. Much emphasis has been placed on communication as effective strategy specifically when it has a participatory and community-based approach which offers education through alternative ways of responding to HIV/AIDS in order to reach and involve the individual target audience. The value of entertainment as an effective intervention tool through which to inform and educate is of major importance. Theatre is widely implemented as a tool when attempting problem solving and group and/or individual behaviour-change. Lucky, the Hero! an HIV/AIDS Educational Theatre intervention initiative was launched by The Africa Centre for HIV/AIDS Management after research established that alarmingly low levels of HIV/AIDS knowledge existed amongst the predominantly Afrikaans speaking farm workers communities of the Western Cape region as media campaigns had not successfully reached them due to geographical isolation and illiteracy. Theoretical guidelines for the development process and implementation of Lucky, the Hero! are provided: how it came about; its content and messages; and the intricacies of how the show was rolled out to audiences. The specific results and findings of such an Educational Theatre intervention campaign in the Breede River Valley during September 2007 are discussed, as well as how successful the practical implementation of the intervention has been in terms of its theoretical base and initial purpose. Lucky, the Hero! was found to be overall successful in achieving its aims and proved to be entertaining and educational. It improved general knowledge of HIV infection amongst participants and motivated intentions towards positive behaviour change. Over 2000 participants were also tested during the 14-day intervention. Theatre as intervention tool proved to be effective in this specific instance as most participants agreed that educational theatre was an appropriate method to positively influence HIV/AIDS related behaviour in the community. They also expressed the wish to see the performance again and said they would encourage others to see it. Although the evaluation methods served their purpose in proving that theatre was an effective tool in HIV/AIDS education and provided basic information and results about HIV/AIDS and the intervention strategy method and campaign, a multi-integrated approach needs to be considered. The latter should include follow up interventions focusing on ongoing HIV/AIDS education and training in order to achieve feasible and sustainable long term results.
Towards a dynamic voice approach evolving from leading voice and movement theorists
(Stellenbosch : Stellenbosch University, 1996-03) Baker, Gavin R.; Kruger, M. S.; Frege, I.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: Speech is muscular and therefore is a dynamic process which involves the movement of a large number of body parts. This dynamic muscular process requires energy. Therefore, this study focuses on movement that it is organic. It works in collaboration with the functioning of the body, not opposing it. By allowing the movements of the rest of the body to echo the movements of the tongue and other organs of articulation, organic movement is encouraged. This approach enables the student-actor to become aware of the speech process and the physical and psychological blocks that he might have. By confronting these blocks, they can be eliminated with the help of exercises. Therefore, in a dynamic voice approach, the student-actor is encouraged to experiment with his movements, whether set or improvised. Voice and movement are a reflection of the individual's personality. Movement is an important tool for characterisation. Exploring a strong physicality plays a major part in influencing the characters' speech mannerisms and patterns. Therefore, it is impossible to think of movement as seperate from voice and acting. Movement can function as a major agent in "freeing" and releasing the voice, as well as assisting in overcoming physical and emotional blocks. The combination of sound, through syllables, into words and sentences involves rhythm. The transferring of thought int sound involves tempo-rhythm. This is made easier by man's remarkable ability to apprehend and appreciate rhythm. The use of movement highlights this method of accepting and appreciating rhythm. The aspects of voice and speech (relaxation, alignment, breathing, resonance, pitch and rage, articulation, tempo-rhythm, placing projection) are connected and interrelated which reinforces the importance of a holistic approach to voice work.
Using theatre techniques as a tool to enable active learning : searching for a pedagogy to transform spectators into spect-actors
(Stellenbosch : University of Stellenbosch, 2005-12) Van Schalkwyk, Mareth; Kruger, M. S.; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
In Britain provision is made for students with a low Basic Skills level (literacy and numeracy) to continue with their post-GCSE education in a low level vocational course. These low level courses aim to teach students basic, life and vocational skills necessary to progress to the next level. This study aims to find a pedagogy which is suited to the needs of these marginalised students and transforms them from spectators into spect-actors. Two programmes were designed, implemented, managed and measured by this study in order to find the pedagogy best suited to the needs of these students. Programme 1 was based on ideas by the educationalists Kolb, Petty, Honey and Mumford; and aimed to empower students with the basic and life skills necessary for progression. Programme 1 failed as the mostly narrative pedagogy was associated with a similar pedagogy used in schools. Assessment methods were unsuitable and the course paid more attention to the needs of the group than the needs of the individual. Programme 2 aimed to actively involve students in the learning of skills essential to progression and was based on theatrical techniques. Augusto Boal’s Theatre of the Oppressed techniques, especially Forum Theatre, formed the basis of the student-centred programme. Boal’s interactive theatre techniques, together with ideas taken from Aristotle, Artaud, Brecht, Heathcote and Freire formed the pedagogy of an interactive course where the focus fell on the needs of the individual student. This study found that Programme 2 was successful. Students took to the taskbased interactive course where all solutions to problems were found by means of active investigation, no theorem was learned without application and no action took place without a purpose. Students changed from spectators into spectactors with a view that the world is not stagnant but transformable. Achievement and success rates back up the findings. The interactive pedagogy using theatre techniques to teach can be applied across the curriculum and it is suggested that such courses should run alongside main stream academic courses to accommodate the learning of all students.
Writing the border : avoiding restorative nostalgia by using social media discourses to create a Borderdrama
(Stellenbosch : Stellenbosch University, 2019-12) Albertyn, Maria Adriana; Albertyn, Marina; Du Preez, Petrus; Kruger, M. S.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: A number of plays have been staged about the South African Border War. Some of these plays have been uncritical in their representation of the war and have promoted a kind of restorative nostalgia that glosses over the SADF’s share in a shameful past. In staging the Border War, the playwright has to portray perpetrator trauma in a way that engages the audience to critically examine the past. This study uses the arts-based research framework to create a play that reflects the research done on Border War veterans. The study firstly identifies thematic material in South African plays about the Border War in an overview of the lineage of practice. It then examines social media discourses on the Border war to generate thematic material for the creation of a new play. The drama that was created from this research, is called Bloed en Bodem. Reviews from the performance of this drama at two national arts festivals are primarily used to assess the play as an example of research-led practice. The study’s primary conclusion is that complexity and binary voices can be an antidote to restorative nostalgia. By including voices that both contradict and expose the veteran’s views of the past, the master narrative of conscription is destablized and opportunities for responsible meaning-making emerge.

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