The central problem of this thesis is the situation of women in Reza De Wet's dramatic-oeuvre, and their yearning to escape from unacceptable circumstances. Chapter 1 deals with the historical background of the changing position of women in South African history, and indicates De Wet's dramatic oeuvre as the climax of this genre in the eighties. Chapters 2 and 3 deal with the female characters of Vrystaat-trilogie and Trits: Mis, Mirakel, Drif. Within the central problem, this study focuses on an ongoing liberation process which reaches its climax in Trits. Chapter 4 (A Russian trilogy) investigates the inner liberation process of female characters before and after the Russian Revolution, and focuses on their yearning for a better future. The conclusion of this thesis is that De Wet, by making use of concepts like intertextuality and fantasy, succeeded in deconstructing the image of a mythical Afrikaans countryside portrayed in earlier literature. Simultaneously the ongoing theme of an inner liberation takes place in the lives of most of the female characters throughout De Wet's dramatic oeuvre / Afrikaans & Theory of Literature / M.A. (Afrikaans)

The central problem of this thesis is the situation of women in Reza De Wet's dramatic-oeuvre, and their yearning to escape from unacceptable circumstances. Chapter 1 deals with the historical background of the changing position of women in South African history, and indicates De Wet's dramatic oeuvre as the climax of this genre in the eighties. Chapters 2 and 3 deal with the female characters of Vrystaat-trilogie and Trits: Mis, Mirakel, Drif. Within the central problem, this study focuses on an ongoing liberation process which reaches its climax in Trits. Chapter 4 (A Russian trilogy) investigates the inner liberation process of female characters before and after the Russian Revolution, and focuses on their yearning for a better future. The conclusion of this thesis is that De Wet, by making use of concepts like intertextuality and fantasy, succeeded in deconstructing the image of a mythical Afrikaans countryside portrayed in earlier literature. Simultaneously the ongoing theme of an inner liberation takes place in the lives of most of the female characters throughout De Wet's dramatic oeuvre / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Text in Afrikaans with abstracts in Afrikaans and English. / Hierdie verhandeling handel oor die radiodramas van N.P. van Wyk Louw se afhanklikheid van die gesproke woord en die gebruik van ouditiewe middele ter ondersteuning daarvan. In radiodramas soos Dias, Kruger breek die pad oop en die eerste voortrek, is die gesproke woord hoofsaaklik as betekenisdraer gebruik. Gaandeweg word byklanke in Blomme vir die winter aangewend en in Die vonnis speel musiek n strukturerende rol by die opbou van die handeling. In Die held en Lewenslyn eksperimenteer Louw met radiotegniese moontlikhede ten einde die ouditiwiteit en verbeelde visualiteit te verhoog. In Dagboek van n soldaat word die byklank soms oorheersend, maar in sy laaste radiodrama, Die val van n regvaardige man, keer hy weer terug na die uitsluitlike krag van die woord. Die aanwending van dramatiese tegnieke, sowel as aktuele temas, komplekse karakterisering en die vooropstel van die idee, dra alles by tot die "toneelmatigheid" van sy radiodramas. / This dissertation deals ·with the radio dramas of N.P. van Wyk Louw, describes its dependence on the spoken word and the use of acoustical forms to reinforce the dialogue. Louw uses the spoken word as the prime bearer of meaning in Dias, Kruger breek die pad oop and Die eerste voortrek. Gradually he makes use of sound-effects in Blornme vir die winter and music plays a structural role in the action in Die vonnis. In Die held and Lewenslyn technical possibilities increase the auditory effect and imagined visuality. Sometimes the sound-effects dominate in Dagboek van n soldaat, but in his lastradio drama, Die val van n regvaardige man, Louw returns to the exclusive force of the spoken word. Louw's use of dramatical techniques, together with actual themes, complex characterization and the bringing forth of the idea, is responsible for the radio dramas being "fit for the stage". / Afrikaans and Theory of Literature / M.A. (Afrikaans en Nederlands)

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans & Theory of Literature / M.A. (Afrikaans)

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Die verhandeling ondersoek die wyse waarop Deon Opperman die versetmotief in sy Afrikanerdramas uitbeeld en vernuwe om die veranderende sosiale omgewing te weerspieël. Hoofstuk 1 verskaf ‘n oorsig oor verset as leefwyse en motief in die Afrikaanse drama. Hoofstuk 2 bied ‘n teoretiese ondersoek van The theatre of revolt (Brustein 1991), ’n bespreking van begrippe soos herskrywing, multikulturalisme, moderne diaspora en globalisasie sowel as ‘n kontekstuele studie van Deon Opperman se Afrikaanse oeuvre. Hoofstuk 3 (Donkerland) fokus op verset binne ‘n postkoloniale herskrywing van die Afrikanergeskiedenis. Hoofstuk 4 (Kruispad en Ons vir jou) sentreer rondom sosiale verset binne ‘n multikulturele omgewing, terwyl hoofstuk 5 Kaburu as weerkaatsende teks en die aktuele kwessie van die moderne diaspora as versetreaksie aanspreek. Die verhandeling kom tot die slotsom dat Opperman versetteater gebruik om kommentaar op aktuele probleme te lewer en om terselfdertyd‘n boodskap van transformasie oor te dra. / The dissertation examines how Deon Opperman portrays and regenerates the revolt motif in his Afrikaner dramas, in order to reflect the changing social environment. Chapter 1 provides an overview of revolt as lifestyle and as motif in Afrikaans drama. Chapter 2 offers a theoretical examination of The theatre of revolt (Brustein 1991), a discussion of concepts such as rewriting, multiculturalism, modern diaspora and globalization, as well as a contextual study of Deon Opperman’s Afrikaans oeuvre. Chapter 3 (Donkerland) focuses on revolt within the postcolonial rewriting of Afrikaner history. Chapter 4 (Kruispad and Ons vir jou) deals with social revolt within a multicultural milieu, whereas chapter 5 discusses Kaburu as a reflecting text and addresses the issue of the modern diaspora as a reaction to political transition. The dissertation reaches the conclusion that Opperman is using South African theatre as a platform for revolt as well as for transformation. / Afrikaans & theory of Literature / MA (Afrikaans en Algemene Literatuurwetenskap)

Die verhandeling ondersoek die wyse waarop Deon Opperman die versetmotief in sy Afrikanerdramas uitbeeld en vernuwe om die veranderende sosiale omgewing te weerspieël. Hoofstuk 1 verskaf ‘n oorsig oor verset as leefwyse en motief in die Afrikaanse drama. Hoofstuk 2 bied ‘n teoretiese ondersoek van The theatre of revolt (Brustein 1991), ’n bespreking van begrippe soos herskrywing, multikulturalisme, moderne diaspora en globalisasie sowel as ‘n kontekstuele studie van Deon Opperman se Afrikaanse oeuvre. Hoofstuk 3 (Donkerland) fokus op verset binne ‘n postkoloniale herskrywing van die Afrikanergeskiedenis. Hoofstuk 4 (Kruispad en Ons vir jou) sentreer rondom sosiale verset binne ‘n multikulturele omgewing, terwyl hoofstuk 5 Kaburu as weerkaatsende teks en die aktuele kwessie van die moderne diaspora as versetreaksie aanspreek. Die verhandeling kom tot die slotsom dat Opperman versetteater gebruik om kommentaar op aktuele probleme te lewer en om terselfdertyd‘n boodskap van transformasie oor te dra. / The dissertation examines how Deon Opperman portrays and regenerates the revolt motif in his Afrikaner dramas, in order to reflect the changing social environment. Chapter 1 provides an overview of revolt as lifestyle and as motif in Afrikaans drama. Chapter 2 offers a theoretical examination of The theatre of revolt (Brustein 1991), a discussion of concepts such as rewriting, multiculturalism, modern diaspora and globalization, as well as a contextual study of Deon Opperman’s Afrikaans oeuvre. Chapter 3 (Donkerland) focuses on revolt within the postcolonial rewriting of Afrikaner history. Chapter 4 (Kruispad and Ons vir jou) deals with social revolt within a multicultural milieu, whereas chapter 5 discusses Kaburu as a reflecting text and addresses the issue of the modern diaspora as a reaction to political transition. The dissertation reaches the conclusion that Opperman is using South African theatre as a platform for revolt as well as for transformation. / Afrikaans and theory of Literature / M. A. (Afrikaans en Algemene Literatuurwetenskap)