Masters Degrees (Drama)

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Die aard en funksie van Afrikaanse kabaret en enkele aanverwante vorme
(Stellenbosch : University of Stellenbosch, 2011-03) Nel, Maryke; Du Preez, Petrus; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This study examines the contemporary Afrikaans cabaret and the theatrical forms related to it. As background to the study and to determine the original nature of cabaret, I have examined the European origin of the Afrikaans cabaret. Afrikaans cabaret is discussed further by looking at the nature of the original Afrikaans cabaret in the 1980’s. As a constantly evolving art form, the Afrikaans cabaret has undergone multiple changes since its beginning in the 1980’s and because of this the nature of the contemporary Afrikaans cabaret is discussed through the use of the comedy sub-genres: stand-up comedy, one man comedy and sketch comedy. These comedy sub-genres add to the entertainment value of the cabaret and are discussed through the comic elements that can be used in contemporary Afrikaans cabaret. The function of Afrikaans cabaret as social commentator is also examined by placing it against contemporary Afrikaans rock music. The rock movements referred to in this study, which are largely related to socio-political commentary, are the 1980’s Voëlvry-tour as well as the contemporary Afrikaans rock group Fokofpolisiekar. As conclusion the study finds that cabaret is allusive in nature, but that social criticism is the core element. It seems, however, that the contemporary Afrikaans cabaret is more focussed on entertainment without social commentary and that this contemporary function is influenced by numerous factors.
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.
The attainment of personal catharsis through the realisation of the dislocation between the internal and external expressive forms of the self
(Stellenbosch : University of Stellenbosch, 2010-03) Muller, Teresa; Du Preez, Petrus; Pienaar, Samantha; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This study is aimed at establishing what personal catharsis is, specifically defining what it is and under what conditions it may occur. During the creation and execution of an autobiographical solo, I had gone through a process of attaining what has since been labelled personal catharsis and recognition of the other, which gave arise to me finding confidence and discovering my creative voice of identity. However, it was not known when or how these processes took place. In addition I was not certain exactly what personal catharsis was in the context of me and my identity. An investigate was also needed into the possibility of generalising personal catharsis as a process that could guide people towards gaining confidence and finding their creative voice of identity. In this thesis, the process of the creation of the autobiographical solo is deconstructed. In doing so the journey of the discovery of the other is highlighted and the role of recognition between the inner expressive form and the external expressive form. Through the means of a source study the concepts of behaviour and the other in reference to identity construction and performance of everyday self are discussed. Then personal catharsis is explored in comparison to the traditional use of the term. Using performance-based research methodologies in conjunction with a questionnaire, a 12-week series of workshops was held to explore the generalisation of personal catharsis and the issues that arose during the study. The workshops were aimed at investigating the possibility of creating a process to attain personal catharsis. It was found that personal catharsis is a subjective process that takes place through the recognition of the external expressive form. It is through this recognition that the dislocation of self can be reconnected and the other can become more transparent to the internal expressive form. This process is readily attained through the exploration of the character of self. However, although new behaviour can result from personal catharsis, the individual needs to choose the internal expressive form as the dominant part in expressive behaviour.
Bemarking van die Afrikaanse teater : vraag en aanbod ten opsigte van toneel as produk
(Stellenbosch : University of Stellenbosch, 2010-03) Hattingh, Jana; Esterhuizen, Johan; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: Production houses, theatres and arts festivals are closely involved in the development of the Afrikaans theatre industry. Other than the first two entities, arts festivals, with their special focus on Afrikaans theatre, are a recent development of the shifting situation in post-1994 South Africa, when political changes led to a new climate surrounding the arts in general and drama in particular, creating a free-market situation with a number of specific challenges. A historical overview of the three entities is provided before an investigation is undertaken to establish the extent to which the arts industry is managed according to business principles. The focus falls on drama groups, theatres and Media24 sponsored arts festivals in particular, as observed within the broader context of the English theatre industry, from which a lot can be learnt. The hypothesis of this study is that some of the problems which the Afrikaans drama industry faces, can be ascribed to the fact that the management of the industry is creativity-orientated rather than business-orientated. From examples of stage productions, as well as a variety of data obtained from both written and oral sources – due to a shortage of research in this field – analyses were undertaken of the Afrikaans drama industry’s performance in order to establish in how far business principles are applied, the lack of skills experienced and how marketing can be improved. This study finds that it is difficult to come to obvious conclusions due to the number of variables. Broad guidelines could be established, however, linked to aspects such as market research on the segmentation of target groups, the choice of themes and players, demand and affordability. The key to efficient marketing lies in a thorough knowledge of the field, combined with the strategic management of demand and supply. A proper balance between business principles and creativity is of cardinal importance in order to allow Afrikaans theatre to grow to its full potential.
Bertolt Brecht en die funksionele gebruik van musiek
(Stellenbosch : University of Stellenbosch, 2009-03) Van den Heever, Frieda; Hees, Edwin; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
This study focuses on Bertolt Brecht`s use of music in his epic theatre. After looking at his objectives against the background of his times, certain key aspects of his dramatic theory and practice in general are discussed e.g. its epic nature, Verfremdung, Gestus and his social engagement. This is important for an understanding of his functional use of music as an important element in his productions. Music as a sign system in drama is discussed with special reference to the genres in which music plays an essential role, viz. opera, in particular Wagner`s Gesamtkunstwerk and, most importantly, cabaret. The focus is on Brecht`s reaction against and point of connection with, each of these genres. The second part of the study focuses on the role of music in the practice of Brecht`s theatre. Naturally the specific composers with whom Brecht worked and specific productions are discussed. The relevant productions discussed are Aufstieg und Fall der Stadt Mahagonny (1930), Die Dreigroshenoper (1931) and Mutter Courage und Ihre Kinder (1939). Brecht worked against a background of social, political and economic upheaval. His art aimed at making people aware of unjustified social circumstances and inspiring them to engage in the task of changing these circumstances. For him this entailed communicating in a fresh way with words which had lost their meaning because of ideological abuse. For this purpose he made use of music in a very specific way. He tried – not always successfully – to avoid using music as an ornamental narcotic. This implied that music was always meant to serve the intention of the text, the Gestus. Music in Brecht`s theatre was dramatic not incidental, functional not ornamental, and music not as a means of escapism, but as an inspiration. The music, like all the other elements in his theatre, had to stimulate critical thinking and had to be of social use in order for it to be considered functional. The “great struggle for supremacy between music, text and production”, to which Brecht so often referred, complicated his goal of functionality and it was no easy task to marry his dialectical ideas. This caused for certain discrepancies between his theory and practice and I will take that into consideration in this study.
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.
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.
The Conradie Codec : the recoding of meaning in four of my stage adaptations
(Stellenbosch : Stellenbosch University, 2015-04) Conradie, Wilhelm; Hees, Edwin; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: In this thesis I attempted to analyse the four adaptations I created between 2004 and 2010. The first two products (texts and productions) were created in 2004 and 2005, while I was a student at the Stellenbosch University Drama Department. The third adaptation (text only) was created in 2007, while I was a freelance stage manager. In 2010, I collaborated with a choreographer for the first time to adapt a Shakespeare text into a dance theatre production. The process of adapting a text always starts with an interpretive reading. Extracting information and meaning from a text can also be referred to as ‘decoding’. In the process of creating the adaptation new meaning is written, or ‘encoded’, into the product that must in turn be decoded by the reader or audience member. A term for this decoding and encoding process that is often encountered in the field of video editing (an aspect of my current profession) is a ‘codec’. In video editing a codec is responsible for the decoding of a computer file into a video program that a viewer/audience can engage with, as well as the encoding of a video program into a file. Since I function as the ‘codec’ in these adaptation scenarios, I thought it appropriate to label my approach to the adaptation process, the ‘Conradie codec’. The aim of this reflexive study is to analyse my four adaptations, the processes as well as the products, in order to determine if such a codec truly exists. Research done in adaptation studies was presented in an attempt to define adaptation as both process and product – Linda Hutcheon’s A Theory of Adaptation was particularly useful. This created a framework for the study of each of the four adaptations in chronological order, according to the year in which they were created. The study also draws very generally on the principles of semiotics, especially with respect to the notion of coding. Firstly, the 2004 adaptation of Luigi Pirandello’s Six Characters in Search of an Author into Twintig akteurs op soek na ‘n [beter] Regisseur was analysed. This was followed by onsindroom (sic), an adaptation of August Strindberg’s A Dream Play. The third adaptation was iForest, which was created in 2007. This was an adaptation of (primarily) Eugene Ionesco’s The Killer. Lastly, the adaptation of Shakespeare’s Troilus and Cressida into When in Love… was studied. It was concluded that, while the ‘Conradie codec’ does exist and was applied in the creation of the four adaptations, its efficiency was limited – predominantly by time constraints. In all four the cases analysed the rehearsal process started when a complete draft of the adapted text was not yet finished. This put enormous pressure on the rehearsal process. While this is accepted when creating a workshop style production, more time is needed to develop the adaptation in order for it to be cohesive. By going through the process of analysing these four adaptations, the Conradie codec has been adapted (or updated) to version 2.0.
Deadly funny : the subversion of clowning in the killer clown genre
(Stellenbosch : University of Stellenbosch, 2009-03) Spratley, Liezel; Hees, Edwin; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
This dissertation investigates the potential for horror in the comic repertoires and performance styles of clowns, in an attempt to address the popular questions of why clowns inspire fear as well as laughter, and what makes them effective monsters in the horror genre. Notwithstanding short articles which offer a general and broad account, the question of why circus clowns are often viewed as frightening figures remains largely unexplored. For this reason I intend to undertake an in-depth exploration of the wide-ranging history of clowning – which includes anthropology, theatre, film, and literature. This study focuses on finding the primary causes of clowns’ horrific potential, rather than being satisfied with secondary causes such as the effect of their depictions in horror narratives on audiences. During my investigation of specific killer clown films, graphic novels and prose novels, and by drawing on works such as Noël Carroll’s Philosophy of Horror (1990), Mikhail Bakhtin’ Rabelais’ World (1984), and various other studies of the genres of horror and , or instances of practising clowns turning to crime, or simply accepting the view that they play tricks on their audiences, or that their make-up acts as a mask and therefore makes their faces and motives ‘unreadable’. Although these explanations are legitimate, they do not adequately explain why certain clown types prove to be such effective monsters in horror narratives. Clowns typically, albeit to varying degrees, flout taboos on deformity, scatology, violence and insanity, and carry with them the latent stigma attached to these phenomena, which are also recognised as the common themes of the horror genre. The focus of this study is not on clowns as figures of comic relief in horror, but as legitimate monsters in their own right, and an attempt is made to discover how audiences’ anticipation of comic relief and the ‘laws’ of comedy are used deceptively in the construction of clowns as figures of fear. During my investigation of specific killer clown films, graphic novels and prose novels, and by drawing on works such as Noël Carroll’s Philosophy of Horror (1990), Mikhail Bakhtin’ Rabelais’ World (1984), and various other studies of the genres of horror and comedy, as well as anthropological studies of clowns, I argue that, when clowns are shifted from comedy to horror, the comical features and actions that flout the taboos on deformity, scatology, violence and insanity are reinstated as elements of horror and fear. I propose that clowns have the potential to be appropriated as monsters in the horror genre because they exhibit a paradoxical duality of fear and humour, and they have the ability to transgress and violate comedy elements to horrific effect.
Developing a potential youth festival model to aid and develop the theatre for young people industry in South Africa
(Stellenbosch : Stellenbosch University, 2014-12) Mouton, Pierre Le Fras; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama
ENGLISH ABSTRACT: This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified. Finally, the study develops a model that can be implemented into the South African environment, and highlights specific challenges and areas that should be developed in order to create a thriving and sustainable Theatre for Young People industry in South Africa. It is evident that South Africa’s support structures differ significantly from those of other countries where Theatre for Young People industries flourish. This has caused Theatre for Young People practitioners to adopt a predominantly didactic approach to producing events for young people. The study found that, in order to create a thriving Theatre for Young People industry, a balance between the educational and entertainment values of Theatre for Young People should be maintained.
The development towards a linguistic female gaze in selected American situation comedies
(Stellenbosch : Stellenbosch University, 2024-03) Gouws, Moniq Esti; Holm, Nicole; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: Mass media, especially the media we consume as entertainment, greatly affects our views on societal topics like gender performativity. This study investigates two situation comedies, Two and a half men(2003-2015) and Mom(2013-2021), to determine how language use in the series has developed from a male gaze to a female gaze influence. Discussions on the societal position of women throughout the 20th century, the feminist movement and feminist media theory is provided. Mulvey’s (1975) theory of the male gaze, based on Freud’s psychoanalysis, and possible definitions of the female gaze are explored. However, there is still a need for a female gaze in digital series, as the largest purveyor of societal norms in mass media. Linguistic theories on gendered language use and discussions on communication theory, transitivity and paralinguistic features are given along with comedy theory and the role gender and language play in comedy. The strong influences gender, language and comedy have on each other becomes an important point of departure for this study. A multimodal discourse analysis of both series is completed based on specific scenes and storylines that discuss the ways men and women, sex and parenthood are portrayed. Women in the early 2000s were portrayed as sex-objects, but later drove the narrative as the protagonists. Both series exhibit the double standard for mothers and fathers, but was initially portrayed as comedic from the male perspective, while the seriousness of the situation will only be portrayed later through the female perspective. Sexual desire remained an issue throughout both series, only presented through fragmentation and objectification, adhering to the male gaze. It was concluded that Mom contained more positive female language use than Two and a half men and portrayed women in many different regards, not merely sexually or in antagonized roles. However, both series still fall short of a true female gaze in terms of the double-standard of mothers and fathers and the sexual desire of both genders.
The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)
(Stellenbosch : Stellenbosch University, 2003-03) Ntsane, Ntsane Steve; Omotoso, K.; Hees, Edwin; Stellenbosch University.Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
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.
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.
Exploring some of Cicely Berry’s voice and language exercises for a directing concept of Athol Fugard’s Sorrows and Rejoicings
(Stellenbosch : Stellenbosch University, 2016-12) Hofmeyr, Zoettje; Kruger, Marie; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: The aim of this study is to explore how using voice practitioner and writer, Cicely Berry’s, exercises and language strategies on sound and text, could lead to finding a directing concept for the play Sorrows and Rejoicings by Athol Fugard. The expectation was to discover a layered and interesting interpretation of the text by using a more sound-based approach which relied less on visual aspects such as décor, scenery and lighting effects. The research consisted of both a production of the play with a student cast and this thesis, which articulates the full rehearsal process of working on the play with Cicely Berry’s ideas as a clear framework. A qualitative approach was used for the first part of the thesis which involves an overview and discussion of Berry’s career and work. Her various books on voice training and working with actors and directors are also referred to. Then a full Practice as Research approach was followed to find a coherent structure and concept for the production process and performance. Cicely Berry’s exercises were selected and adapted throughout the process by myself as director to explore this South African text and to encourage the actors to bring to the life the personal sound of the characters, as well as create their physical environment through using sound imaginatively. The production revealed that Berry’s many exercises and strategies allow a more open approach to the text and that, within the realism of the language, a poetic and heightened quality was found that led to exploring the characters and their emotional and physical landscapes in a deeper way. Improvisation on these exercises led to concrete ideas for stronger characterisation, active and imaginative use of voice, song, and chant to enhance the themes and atmosphere, a more open and fluid use of space and the essential aural and visual concept that worked well for the production. The centrality of Berry’s approach puts the text first and as a director one then also has the freedom to explore and improvise on the exercises as they are needed. It was found that one needs to use many of the exercises and to repeat some of them at different stages of rehearsals, in different ways, to fully benefit from them. As they are open-ended and not prescriptive in their potential outcomes these strategies are very useful for a director and actors in exploring a text, in order to find a creative interpretation that is stimulated by the words and images. In this way an awareness of the sound potential in language becomes more important than relying largely on visual aspects.
Filled nothingness : hearing silence onstage
(Stellenbosch : Stellenbosch University, 2020-03) Wiggill, Caitlin Alice; Pretorius, Mareli Hattingh; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: The aim of this study is to address the question of how silence can be defined and applied as a communicative device in theatre. The study consists of a theoretical and a practical component. The theoretical component relies primarily on a literature study. I firstly provide a theoretical framework by discussing the role and place of silence within verbal and nonverbal communication, with specific reference to the theatre. As a result silence is framed as relational to space and is defined as the absence of words/language, rather than the absence of sound, acknowledging the impossibility of pure silence. The performance of John Cage’s composition 4’33” is discussed as an example of silence in performance, highlighting the role of environmental sound within silence. The literature study, secondly, focusses on an investigation of Samuel Beckett and Robert Wilson’s approaches to theatre, with specific reference to their respective use of silence, and identifying possible methods employed within their praxis. Within my analysis of Beckett’s plays Breath and Not I, I identified the methods of textual scoring and formalized periodicity. In my analysis of Wilson’s Deafman Glance and Einstein on the Beach, I identified the methods of reiteration and Wilsonian Time. The practical component employs an exploratory research methodology within a practice-led approach to implement the identified methods within my own work as director. Sarah Kane’s 4.48 Psychosis was selected as text for my practical exploration. I provide background on the work of Kane, and 4.48 Psychosis, discussing the ways in which silence features in the text. An account of the practical exploration is given, detailing my two phase rehearsal process with a cast consisting of four female performers. This included the development of exploratory exercises and the application of Beckett and Wilson’s methods. During the rehearsal process is became clear that a combination of methods is possible, with the definition of silence extending to multiple levels, including visual, auditory, and psychological/emotional. In understanding silence in a contextual sense, the relationship between different aspects of theatre (particularly that of silence and space) was explored in the production. The communicative value of silence was found to be similar to that of spoken language in terms of conveying emotion and relationship. I also found that silence may be indirectly curated through the active handling of another aspect of performance such as rhythm, movement or sound itself.
Film spectatorship and subjectivity : semiotics, complications, satisfactions
(Stellenbosch : University of Stellenbosch, 2007-03) Carboni, Camilla; Hees, Edwin; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Drama.
Spectatorship is an essential aspect of the film industry, and hence a key facet of film studies. In film studies, however, the notion of subjectivity is marginalized in a preference for broad generalizations. This is because any consideration of subjectivity leads to indeterminate results. Such research is consequently of no use to filmmakers in guiding them on how best to accommodate mainstream consumer preferences, which is most often the objective of spectatorship studies. However, apart from this, subjectivity is a key component in film reception as every human being views ‘reality’ subjectively and therefore films also. Although the outcome of studies that include the notion of the ‘subjective individual’ will be indefinite, it is an important aspect of any study of spectatorship. The notion of the ‘subjective individual’, as opposed to the generalized notions of ‘audience’ and ‘spectator’, is thus crucial and consequently underlies my entire discussion. In an attempt to demonstrate the importance of subjectivity in film spectatorship studies, I address three primary notions in film reception studies – the text’s structure, cultural complications and psychological satisfactions. In doing so, I consider how each of these notions significantly involves the ‘subjective individual’. In addressing the first notion – the text’s structure – I examine the role of the spectator in relation to the film text, particularly during the reception process. I show how codes function, are organized, and are very specifically encoded into the text by the filmmakers. I then examine how the spectator – the recipient of the communication, who is positioned by the text (interpellated) to receive the narrative – decodes the text’s message. This process thus involves not only subjectivity in the filmmakers’ choices, but also in the ‘reading’ position that the spectator adopts, according to his/her personal interpretation of the text. The second notion – cultural complication – involves the aspects which condition both the encoding and decoding processes of film, namely: ideology, polysemy, the overlapping ‘public’ and ‘private’ spheres, and the unconscious desires of spectators. Each aspect has a profound affect on spectator response and, consequently, on the study of spectatorship. Moreover, each aspect entails the notion of the ‘subjective individual’. The third notion – psychological satisfaction – deals with unconscious desires and thus addresses subjectivity in spectatorship in its most intense form. Lacan’s ‘Mirror Stage’ theory and Freud’s work on dream analysis demonstrate how personal the desires motivating the viewing of films are, again revealing subjectivity as a key aspect in film spectatorship study. In amalgamating these ideas, I draw on the phenomenon of celebrity. The film celebrity, originally an ‘object’ of the film text, has become central to popular culture for reasons of psychological satisfaction. I explore how spectatorship and what generates it – the film industry – have co-created the film celebrity and, in turn, how this phenomenon moulds popular culture and affects ideology; subsequently affecting the “theory of ‘reality’” by which we, as individuals in society, live. Since this “theory of ‘reality’”, although constituted by the dominant ideology, is personal and conditions the way we (as human beings and film spectators) view everything, spectatorship studies cannot ignore spectators as ‘real’ people – ‘subjective individuals’.
Finding balance : a study of the text and context of two Afrikaans festival comedy scripts
(Stellenbosch : Stellenbosch University, 2018-03) Hattingh, Maria Susanna; Pieterse, Annel; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This study explores two critically acclaimed Afrikaans festival comedies, which are situational and predominantly located in a specific time and place, and the question how they can gain continuity in the wider theatre realm. Central to this investigation is the context in which these spectral productions have been formed and performed. Through a close analysis of the comedy texts that have enjoyed great success on recent festival circuits, this thesis seeks to identify aspects of these comedies that may account for their unusual endurance and acclaim within the festival context. A correlative aim of this research is to contribute towards creating an afterlife for the chosen scripts by making them available to other researchers. To this end, the two original scripts, N is vir Neurose (2012) by Christiaan Olwagen and Amper, Vrystaat (2015) by Nico Scheepers, are included as addenda to this thesis. These texts are analysed within their respective original performance contexts. Given the context in which these productions have been formed, the festival space in general and the respective physical performance space in particular, have a powerful impact on the potential afterlives of the productions: these spaces are as transitory as the plays themselves. Comedy as a genre appears inherently ghost-like in this distinctly localised situation. A contextual as well as thematic analysis of these two plays show a subtle balance between wit and taboo, as well as comedy and drama. The plays adhere to generic comedy characteristics as well as combining various techniques of humour to create refreshingly local dark comedy. These comic techniques, along with the inherent dark comedy qualities of the plays, transcend language and culture, thus increasing the potential for their continuity beyond the festival context.
Die funksie van musiek in die musiekblyspel en die kabaret
(Stellenbosch : Stellenbosch University, 2013-03) Esterhuysen, Etienne; Kruger, Marie; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: Empirical studies have shown that music has a determinable effect on human emotions. In this study, the function of music is analysed in terms of how it functions in the musical and the cabaret as genres. A broad overview regarding the development of these two genres shows how music is incorporated in these two genres through the ages. A further analysis regarding structural elements show how music is used in the musical to develop action and character, whilst also portraying how music supports the sosio-political onset of the cabaret. These functions are practically applied to My Fair Lady (1956) as text for the musical and applied to Die Kortstondige Raklewe van Anastasia W (2010) as text for the cabaret. In these two texts, chosen songs are analysed in terms of how the music functions in these two genres. In conclusion, a summary of how music functions in these two Musical Theatre genres is given by referring to the results discussed in this thesis. In the results are found a better understanding of how music functions in these genres to heighten the aesthetical and dramatic values of a theatre production. Music also heightens the emotional experience of the staged production.
Die funksies en vereistes van die resensiewese in ’n veranderende bedryf : teaterkritiek en die nuwe media
(Stellenbosch : Stellenbosch University, 2013-12) Theart, Francois Hugo; Du Preez, Petrus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.
ENGLISH ABSTRACT: This study examines the role and function of theatre critics and reviews in the industry at present. Characteristics of a good review are also examined and the role of the traditional review in the ‘new media’ is questioned. The ‘new media’ offer the public the opportunity to have access reviews to within a few hours of the first performance. This implies that theatre reviews become more newsworthy through their immediacy. “New media” have the added advantage that the content of reviews can be enhanced, and that the notorious space limitations of the ‘old media’ no longer impact on the copy volume. Within the modern media the style and content of reviews and opinions depend on the specific media form. In the ‘new media’ subjective personal opinions have become more prominent than well-grounded, ethically accountable journalism which used to be required in the older forms of media. The ‘new media’, on the other hand, present journalism with a whole new platform. If utilised in a controlled and dynamic manner, these new technological and electronic developments, can contribute enormously to the theatre review industry. In the concluding chapter a model is suggested according to the which the ‘new media’ can be used as a platform to maintain, develop and advance theatre – and specifically criticism – in South Africa.

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