E-Books (Visual Arts)

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    Die Breytie boek : 'n versameling artikels oor Suid-Afrikaanse teater opgedra aan P.P.D. Breytenbach (24th January 1904 - 2nd March 1984)
    (Limelight press, 1985) Hauptfleisch , Temple
    To serve as background for the articles I have included a general chronology on the history of South African theatre (1887-1984) identifying some of the highlights of the period. The book consists of three main sections: First there is a section on Breytie the man: his life, his personality and his contribution. This is followed by one on the history of the theatre in the country, mainly as fas as Breytie was directly or indirectly involved in it. This includes some items on the industry today (the performing arts councils, organizations and service institutions) as well as an overview of trends in the 80's. The third section contains personal tributes to P. P. B. Breytenbach by his friends and colleagues over the years.
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    Educating citizen designers in South Africa
    (AFRICAN SUN MeDIA, 2018) Costandius, Elmarie; Botes, Herman
    Educating Citizen Designers in South Africa is the first book of its kind to appear in post-apartheid South Africa and it is therefore both overdue and extremely welcome. The book aims at sharing critical citizenship design teaching and learning pedagogies by including contributions from a range of design educators, and one student, who work in different design disciplines, such as architecture, graphic and product design. Critical citizenship education is explicated in relation to a range of theories and new and existing models. Numerous contemporary case studies and examples of design projects from a range of South African Higher Education Institutions are included. As such, a variety of perspectives emerge, including the consensual, where the aim of critical citizenship education is viewed as promoting social justice, shared values and critical thinking, to the conflicting – where critiques are levelled against conceptions of critical citizenship education. Contentious, contesting and contradictory views are inevitable and necessary given the South African context as it is only in open debate that the one point of agreement among the authors, the need for social change, can be worked towards. - Prof Deirdre Pretorius, Univeristy of Johannesburg
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    Theatre and society in South Africa : some reflections in a fractured mirror
    (J.L. van Schaik, 1997-01) Hauptfleisch, Temple
    The debate about the precise relationship between theatre and society is an old and honourable one - whether in terms of the Shakespearean metaphor Oorfles utilizes (along with a vast range of other writers), or in terms of Aristotle's Mimesis, Or Johnson's Nature, Coleridge's Truth, and the many other metaphors used to indicate the representative nature of the arts. The way one perceives this clearly has a great deal to do with who one is and how one has been socialized oneself. It is also clear from even the most superficial reading of the many theorists over the ages, that no-one sees it as a simple, predictable or even dependable relationship, or even a matter of precise unmeditated imitation of an external 'reality'.1 It is too dependent on human beings and their complex and perverse natures to be so. It is also perceived as an 'art' created by an individual'artist' - and the terms art and artist are themselves concepts of some flexibility. But all agree, somewhere along the line, that there is a relationship of some kind between a performance and the socio-cultural context in which it occurs.