South African Theatre Journal最新文献_第5页

Narratives of resistance in Amakhosi Theatre Production’s Workshop Negative 阿马科西戏剧作品《消极工作坊》中的抵抗叙事

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South African Theatre Journal Pub Date : 2021-05-04 DOI: 10.1080/10137548.2022.2031265

Nkululeko Sibanda

{"title":"Narratives of resistance in Amakhosi Theatre Production’s Workshop Negative","authors":"Nkululeko Sibanda","doi":"10.1080/10137548.2022.2031265","DOIUrl":"https://doi.org/10.1080/10137548.2022.2031265","url":null,"abstract":"This paper deploys theories of social performance as a lens to engage and examine narratives of resistance in Amakhosi Theatre Productions’ Workshop Negative. It locates and frames Amakhosi Theatre Productions’ Workshop Negative as a personal and community narrative inscribed with agency. Deploying the social theories of performance and the narrative of resistance approach as an analytical framework, this paper analyses and critiques Workshop Negative as a representation of everyday lived experiences and meaning-making in the community as well as undertake a nuanced reading of the Zimbabwean socio-cultural and political landscape under which this narrative (work) was created, produced and performed. This article critiques Workshop Negative’s aesthetic playmaking methods as narrative techniques of storying its members’ lives, voices and that of the community. In essence, I seek to understand how members of Amakhosi Theatre Productions aesthetically made meaning of their lives and illustrated these narratives in Workshop Negative. I argue that Amakhosi Theatre Productions’ situatedness in the community enabled them to aesthetically create and perform narratives located in the everyday lived experiences of the Bulawayo community. In so doing, I submit that Amakhosi Theatre Productions’ plays such as Workshop Negative linked personal stories with the big story narratives of Bulawayo and/ Zimbabwe.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"34 1","pages":"84 - 98"},"PeriodicalIF":0.4,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47404734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Joke performance mechanics in Nigerian stand-up comedy 尼日利亚单口喜剧中的笑话表演机制

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South African Theatre Journal Pub Date : 2021-05-04 DOI: 10.1080/10137548.2022.2051731

Izuu Nwankwọ

引用次数: 0

Ubuntu aesthetics in African theatre of the South 南方非洲戏剧中的Ubuntu美学

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South African Theatre Journal Pub Date : 2021-01-02 DOI: 10.1080/10137548.2021.2020157

Pfunzo Sidogi, Hulisani Ndou

{"title":"Ubuntu aesthetics in African theatre of the South","authors":"Pfunzo Sidogi, Hulisani Ndou","doi":"10.1080/10137548.2021.2020157","DOIUrl":"https://doi.org/10.1080/10137548.2021.2020157","url":null,"abstract":"The centrality of Ubuntu in much of African theatre of the South is well documented. Likewise, discourses that explicate the stylistics and aesthetics of African theatre abound. In this paper, we harmonize these existing theorizations on the expression of Ubuntu within African theatre and the prevailing readings of the aesthetics of such theatrical practices into the notion of ‘Ubuntu aesthetics’. The idea of Ubuntu aesthetics or the ‘aesthetics of Ubuntu’ within African theatre is not novel. However, our contribution to this discourse in this paper is to show how the unification of Ubuntu and performance aesthetics presents alternate conceptual pathways of the appreciation, appraisal, and study of African theatre praxis underpinned by an Ubuntu sensibility. To this end, this paper is an introductory attempt at institutionalizing the notion of Ubuntu aesthetics. We locate and contextualize this codification of Ubuntu aesthetics within African theatre of the South, which is representative of alternative performance and ritual practices that operate within, in-between, and beyond the conventional theatre spatial orders. As case studies, we review the theatre production Ngoma The Musical, which embodied the dynamics of Ubuntu aesthetics, alongside Brett Bailey’s Exhibit series which problematizes this notion.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"34 1","pages":"15 - 33"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46086343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Awarawari’rawa … performing statehood for unity in the Nigerian National Festival of Arts and Culture Awarawari 'rawa…在尼日利亚国家艺术文化节上表演国家团结

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South African Theatre Journal Pub Date : 2021-01-02 DOI: 10.1080/10137548.2022.2074533

T. K. Tume

{"title":"Awarawari’rawa … performing statehood for unity in the Nigerian National Festival of Arts and Culture","authors":"T. K. Tume","doi":"10.1080/10137548.2022.2074533","DOIUrl":"https://doi.org/10.1080/10137548.2022.2074533","url":null,"abstract":"In 1970, when the first edition of the Nigerian National Festival of Arts and Culture (NAFEST) was organized, the primary aim was to provide a platform to stimulate national healing and unity for a country that had just emerged from a civil war. The festival is one of the mechanisms which the Federal Government of Nigeria devised to combat the challenges that cultural diversity poses to the country. The primary aim of NAFEST is to nurture a sense of belonging among Nigerians, through a showcase of the diverse arts and culture of Nigeria. In agreement with the argument of some scholars that mere celebration of festivals is inadequate to promote national unity among citizens, this article connects to the Yoruba Awarawari’rawa concept and the theory of statehood to seek the negotiation of unity in NAFEST activities. The paper establishes the NAFEST ideology and classifies the contents of the festival. It also identifies the channels through which the festival drives its set goal of national cohesion. The study employs the participant-observation and interview techniques as instruments for the harvest of data. It is our finding that the NAFEST ideology of statehood and national unity is consciously manifested in the various activities of the festival. The paper concludes by advocating for intensified collective actions of the festival organizers and participants, to increase grassroot participation at the festival, so as to ensure a wider reach for the NAFEST message of national unity.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"34 1","pages":"47 - 59"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44631651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A public intellectual study of South Africa’s Mike Van Graan 南非迈克·范·格兰的公共知识分子研究

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South African Theatre Journal Pub Date : 2021-01-02 DOI: 10.1080/10137548.2021.2012508

A. O. Oloruntoba

{"title":"A public intellectual study of South Africa’s Mike Van Graan","authors":"A. O. Oloruntoba","doi":"10.1080/10137548.2021.2012508","DOIUrl":"https://doi.org/10.1080/10137548.2021.2012508","url":null,"abstract":"The roles of prominent anti-apartheid fighters, trade unionists, journalists, religious leaders, writers – fictional and non-fictional – and artists have been important in the documentation of the public intellectual culture in South Africa. These are sets of people whose efforts and influences enhanced the achievement of a democratic South Africa. However, since the official end of apartheid in 1994, most South African critics have been those in academics. Artists, especially playwrights, have not received as much attention as they should. Also, when playwrights are studied, attention is mostly directed towards anti-apartheid playwrights, and most of these studies are not focused on positioning them within the conceptual framework of the public intellectual. As a way of studying the effectiveness and ultimate worth of the transitional playwright, this paper seeks to engage in a qualitative interrogation of the works of South African playwright and cultural critic, Mike Van Graan by exploring his status as a public intellectual in the era after apartheid. To achieve this, the paper examines one of Van Graan’s plays, Some Mothers’ Sons (2005), and one online essay published in 2020 and shared on his social media pages: Facebook, and Twitter. The extension of this study to social media platforms will enable this paper to adopt a study of Van Graan’s literary and non-literary works and the reactions they have gathered.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"34 1","pages":"1 - 14"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45585976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Methuen drama guide to contemporary South African theatre 当代南非戏剧的梅休恩戏剧指南

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South African Theatre Journal Pub Date : 2021-01-02 DOI: 10.1080/10137548.2022.2050514

K. Magogodi

{"title":"The Methuen drama guide to contemporary South African theatre","authors":"K. Magogodi","doi":"10.1080/10137548.2022.2050514","DOIUrl":"https://doi.org/10.1080/10137548.2022.2050514","url":null,"abstract":"This review focuses on the authors ’ coverage and discursive interpretation of South African theatre. The contextual relevance, scholarly rigour, historical accuracy and representation of historiography come under scrutiny. The Methuen Drama Guide is a contribution to the growing body of literature on the actors, trends and provocations of South African theatre. Herbert I. E. Dhlomo, Bheki Peterson, Maishe Maponya, Mango Shabangu, Robert Kavanagh and Loren Kruger have undertaken these scholarly projects. The Methuen Drama Guide is emblazoned by the primary colours of the ‘ new ’ South African ﬂ ag, signalling the multiplicity of references to follow. The implications of this ﬂ ag for artistic and scholarly expression appear to escape the writers ’ scrutiny. Published during the ’ movement, the book is placed in an epoch when and staff free education, decolonizing of the teaching environment and an academy which af ﬁ rms African knowledge systems. Regrettably, the publication misses an opportune moment, centring the Eurocentrism which was indicted for sti ﬂ ing teaching, learning and research. by the Market Theatre, founded by Barney Simon and Mannie Manim as a structure and institution is reasonably comprehensively archived. Dedicated to opposing state authority and the pervasive implementation of nationalist policy, the Market Theatre was a platform for resisting all aspects of racism and actively committed to challenging discrimination, separatism, segregation and oppression. The principle of bold independence was instrumental in forging an ideologically based work ethic and inculcated resistance to forms of hierarchy and privilege. The Market Theatre ’ s achieve-ments were produced through the efforts and persistence of two individuals who strove for its foundation on ethical basis in what Ronge calls ‘ a great epic struggle ’ . (2015, p. 20)","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"34 1","pages":"60 - 64"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48817513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Hubris of absenteeism 旷工的傲慢

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South African Theatre Journal Pub Date : 2021-01-02 DOI: 10.1080/10137548.2021.2016072

M. Taub, A. Lamprecht

引用次数: 0

Forays into contemporary South African theatre: devising new stage idioms Forays走进当代南非戏剧：设计新的舞台习语

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South African Theatre Journal Pub Date : 2020-09-01 DOI: 10.1080/10137548.2021.1963112

Anton Krueger

引用次数: 0

The outstanding actor, seven keys to success (2nd ed.) 优秀的演员，成功的七个关键(第二版)

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South African Theatre Journal Pub Date : 2020-09-01 DOI: 10.1080/10137548.2021.1909300

N. Holm

引用次数: 0

White women without weapons: an analysis of women’s voices in Border War dramas 没有武器的白人女性:边境战争题材戏剧中的女性声音分析

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South African Theatre Journal Pub Date : 2020-09-01 DOI: 10.1080/10137548.2020.1844045

Marina Albertyn, Marie Kruger

{"title":"White women without weapons: an analysis of women’s voices in Border War dramas","authors":"Marina Albertyn, Marie Kruger","doi":"10.1080/10137548.2020.1844045","DOIUrl":"https://doi.org/10.1080/10137548.2020.1844045","url":null,"abstract":"This article examines the representation of female characters in four plays about the Border War. Female characters are discussed using three archetypes: that of the Virgin, the Mother and the Whore. Aside from giving an overview of female characters in the Border War drama canon, the article also critically analyses whether these representations serve to strengthen or destabilize the hegemonic view of the conscript as a hero which was perpetuated by the apartheid government. The article’s findings are that some plays’ female characters, such as Christine in Deon Opperman’s Tree Aan! (2011), represent an uncomplicated archetype of a Virgin. This woman is largely passive, apolitical and needs to be protected by a heroic conscript. In this sense, the playwright uses the female character to portray a restorative nostalgic view of the past. Other plays, such as Malan’s Johnny is nie Dood nie, Leach’s Die Spinner and Fourie’s Boetman is die Bliksem in!, have female characters that serve to subvert restorative nostalgic views of the past. The article found that contrary to Tree Aan!, these plays use female voices to question and destabilize the conscripts’ master narrative of the Border War as a singularly heroic war against communism. The Volksmoeder (Mother) archetype is used by Fourie as a commentary on the role mothers played in upholding the old regime. In this way, female guilt and complicity in past wrongdoing is also examined. Female agency during this era, albeit limited, is thus acknowledged and passivity is critically examined. The article concludes with its central finding: that there is a significant lack of Whore characters; rebellious women who question men. The author posits that this lack of insubordinate women reflects the masculine world of the Border War.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"33 1","pages":"67 - 86"},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10137548.2020.1844045","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47810508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0