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Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

D.Litt. et Phil. (Afrikaans) / Please refer to full text to view abstract

Thesis (MDram (Drama))--University of Stellenbosch, 2010. / 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. / AFRIKAANSE OPSOMMING: Produksie-geselskappe, teaters en kunstefeeste is baie nou gemoeid met die ontwikkeling van die Afrikaanse teater-industrie. Anders as die eerste twee entiteite is kunstefeeste wat besondere aandag aan die Afrikaanse teater bestee, egter ’n onlangse uitvloeisel van die veranderde situasie in Suid-Afrika na 1994, toe politieke veranderinge die klimaat rondom die kunste in die algemeen en toneel in die besonder ingrypend verander het en ’n vryemark-situasie geskep is wat heelwat uitdagings stel. Die geskiedenis van die drie entiteite word aanvanklik oorsigtelik nagegaan, voordat ondersoek word in watter mate die kunste-industrie bedryf word op grond van sakebeginsels. Die fokus val op Afrikaanse toneelgeselskappe, teaters en veral op die Media24-kunstefeeste, maar soos gesien binne die ruimer konteks van die Engelse teaterbedryf waaruit heelwat geleer kan word. Die hipotese van die ondersoek is dat sommige probleme in die Afrikaanse toneelbedryf daaraan toegeskryf kan word dat die teaterkuns kreatief eerder as besigheidsgeoriënteerd bestuur word. Uit voorbeelde van toneelproduksies, asook op grond van ’n verskeidenheid data wat weens die tekort aan bestaande navorsing beide mondeling én skriftelik verkry is, word ontleed hoe die Afrikaanse toneelbedryf vaar rakende sakebeginsels, watter leemtes bestaan en hoe suksesvolle bemarking kan plaasvind. Daar word bevind dat dit weens al die veranderlikes moeilik is om afleidings te maak, maar breë tendense kan tog vasgestel word, gekoppel aan aspekte soos marknavorsing rondom die segmentering van teikengroepe, die keuse van temas en spelers, behoeftes en bekostigbaarheid. Die sleutel tot effektiewe bemarking lê in grondige kennis van die terrein, gekombineer met die strategiese hantering van vraag en aanbod. ’n Gesonde balans tussen sakebeginsels en kreatiwiteit is ten slotte kardinaal, ten einde die Afrikaanse toneel ten volle tot sy reg te laat kom.

Thesis (DLitt (Afrikaans))-Universiteit van Pretoria, 2010. / "Die Suid-Afrikaanse Akademie vir Wetenskap en Kuns vier vanjaar sy eeufees. Hierdie instansie is die kurator van die Hertzogprys, ̕n gesogte letterkundeprys en die oudste en bekendste prestigetoekenning wat deur hierdie instansie gemaak word." Includes bibliographical references.

M.A. (Afrikaans en Nederlands) / Please refer to full text to view abstract

Thesis (MDram (Drama))—University of Stellenbosch, 2006. / The spoken language usually consists of the formal and standardised component and an informal colloquial language. The colloquial language may include some language variants. These variants are forms of the language that show deviations when compared to the standardised form of the language and are usually spoken by a specific group of people. Sometimes these colloquial variants are used in writing. This study looks at the use of these colloquial variants in theatre scripts. The variants are implemented for various functions in these scripts, which include the metaphoric, the comic, the realistic, the poetical and the political uses as well as the documentation of specific variants. In this research project I discuss the use and functions of a few Afrikaans variants in plays. Other areas of interest include sociolinguistics, the influence of English on Afrikaans and its impact on the future of Afrikaans, as well as a brief discussion of the problematic term Standard Afrikaans.

Text in Afrikaans / In this thesis the term post-colonialism in the Afrikaans drama is investigated, focussing on the post-sixties. The term post-colonialism is difficult to define. Not only are theories of post-colonialism in a state of continuous flux and shifting emphasis, but as a result of different colonial dominations, separate identities have been constructed in South-Africa; so that defining the terms colonial, post colonial and post-colonial proves to be even more problematic. The purpose of this study is to determine to what extent the Afrikaans drama fits into these discourses. The basic point of departure is the fact that post-colonialism played a considerable role in the development of the Afrikaans drama, at the same time providing a more varied scope. The research covers several aspects of post-colonialism in Afrikaans drama; each dealt with in a separate chapter. A multitude of perspectives are featured within the broader discourse in order to obtain multiple norms and standards in a phase of self-criticism. The focus falls mainly on themes and not on performance aspects. New perspectives on issues such as canon texts, silence, hero-worship, the portrayal of woman, patriarchy, and neo-colonialism are presented (chapter 1). In chapter 2 focus falls on the period before 1960, and notably the question of nationalism (associated with apartheid) and the portrayal of the Afrikaner. The literary canon, forms of violence and the position of the super-Afrikaner are viewed in a new light during the re-writing of post-colonial history and the resulting paradigm shifts after 1960. Renewed emphasis is placed on discourse concerning land (chapter 3). Contrasting concepts regarding race, class, language, gender and religion are reconsidered in order to contribute towards the heterogeneous nature of post-colonialism (chapter 4). The function of theatre is to re-evaluate in the context of a post-1994 democratic system. Texts now focus especially on empowerment, re-discovery and re-ordering of history, reconciliation, inter-cultural contact and a post-apartheid syndrome (chapter 5). Anti-hegemonic resistance in Afrikaans literature since the sixties has confronted writers with the challenge of depicting or creating a larger post-colonial reality through their texts. / Afrikaans & Theory of Literature / D. Litt. et Phil. (Afrikaans)

Text in Afrikaans / In this thesis the term post-colonialism in the Afrikaans drama is investigated, focussing on the post-sixties. The term post-colonialism is difficult to define. Not only are theories of post-colonialism in a state of continuous flux and shifting emphasis, but as a result of different colonial dominations, separate identities have been constructed in South-Africa; so that defining the terms colonial, post colonial and post-colonial proves to be even more problematic. The purpose of this study is to determine to what extent the Afrikaans drama fits into these discourses. The basic point of departure is the fact that post-colonialism played a considerable role in the development of the Afrikaans drama, at the same time providing a more varied scope. The research covers several aspects of post-colonialism in Afrikaans drama; each dealt with in a separate chapter. A multitude of perspectives are featured within the broader discourse in order to obtain multiple norms and standards in a phase of self-criticism. The focus falls mainly on themes and not on performance aspects. New perspectives on issues such as canon texts, silence, hero-worship, the portrayal of woman, patriarchy, and neo-colonialism are presented (chapter 1). In chapter 2 focus falls on the period before 1960, and notably the question of nationalism (associated with apartheid) and the portrayal of the Afrikaner. The literary canon, forms of violence and the position of the super-Afrikaner are viewed in a new light during the re-writing of post-colonial history and the resulting paradigm shifts after 1960. Renewed emphasis is placed on discourse concerning land (chapter 3). Contrasting concepts regarding race, class, language, gender and religion are reconsidered in order to contribute towards the heterogeneous nature of post-colonialism (chapter 4). The function of theatre is to re-evaluate in the context of a post-1994 democratic system. Texts now focus especially on empowerment, re-discovery and re-ordering of history, reconciliation, inter-cultural contact and a post-apartheid syndrome (chapter 5). Anti-hegemonic resistance in Afrikaans literature since the sixties has confronted writers with the challenge of depicting or creating a larger post-colonial reality through their texts. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Afrikaans)

M.Ed. (Subject Didactics) / There is growing concern that high school pupils and especially those pupils in the senior secondary phase, are no longer interested in reading ., Afrikaans books. The result is that the pupils' knowledge and understanding of literature is fast diminishing. A further consequence is that the formative possibilities that literature holds for the pupil are also lost. It can therefore be accepted that literature and the teaching of literature has a substance which contributes to the forming of young people on their way to adulthcod, A paradoxical situation prevails in that the high school pupil and specifically pupils in the senior secondary phase do not realise what formative value literature holds for him. The fact is that prescribed prose and drama hold little significance for the majority of pupils in this phase of their achonl, careers, as it is nei ther relevent nor actual. It is therefore necessary that serious attention be given to the goals we wish to achieve in the teaching of Afrikaans First Language literature. The goals we wish to achieve in the teaching of Afrikaans First Language literature (senior secondary phase) as evaluated in a curriculum rational and compared to the syllabus, results in a discrepancy between the goals (ideals), the syllabus content and the teaching (practical). The reason for this can possibly be attributed to the following factors: the syllabus content does not accommodate sufficiently the formative value of literature the criteria for prescribing prose and drama are too limited too much emphasis is placed on examination the teaching of literature is possibly too closely tied to the text * addressing of modern life situations via literature is not given sufficient recognition. From a didactical-pedagocical approach the nature of the discrepancy between goals, syllabus content and teaching have been analysed. The criteria for prescribing prose and drama have been examined and curriculum rational has been brought into line. A situation analysis as a component of curriculum rational is discussed and attention has been paid to the present situation in respect of Afrikaans First Language...