The researcher looked at the effects of Roman rituals on the Christian faith. After thorough research, it appeared that the Roman influences did not get lost with the introduction of Christianity to the rest of Europe. The researcher went back to old rituals and superstitions and studied how drama (mime) developed from the ritual. However, it is clear that devilish swooningâs and demonic representations played a big role in the ritual. The researcher found that many beliefs were mixed with the Christian faith and later on were transferred into the Church. The demonic character played a big role in the representation of what is evil. Stage designers paid a lot of attention on the details of the demonic character and the hell, they wanted it to look as realistic as possible. The study found that the demonic character, Moenen, in the play Mariken van Nieumeghen, played a very prominent role. The researcher analysed another Medieval text, called Den Spieghel der salicheit van Elckerlijc, analyzed. What was very interesting is that both texts have elements that resemble the demonic characters of the artist Hiëronymus Bosch; as well as his representation of death. The researcher also drew similarities between the story of Den Spieghel der salicheit van Elckerlijc and Buddhist. During these studies, the researcher applied these Medieval elements to a South African sixties novel, Sewe Dae by die Silbersteins. The researcher studied the role gender plays in the portrayal of the evil characters found in the novel. Thorough analysis of the novel shows clear similarities between the portrayal of evil characters in the text and the representations of the demonic characters of the Middle Ages. Similarities between Hiëronymus Bosch's depiction of evil and how it was portrayed in the novel could be drawn.

Through exploratory and descriptive research into the importance and incidence of Youth Theatre as genre, this study revealed that the changing political situation after 1994, the White paper on Arts, Culture and Heritage (1994) and the disbanding of the Arts Councils had a negative influence on the staging and maintaining of new works for youth theatre audiences in Afrikaans. Thus, there is evidence of a gap in theatre presentations for the age group 13 to 18 years. This is true in particular, of the range between Child and Adult Theatre. Youth Theatre (âJeugteaterâ) seems an appropriate term for this type of theatre aimed at youthful audiences and performed by professional actors in contrast with Teenage Theatre (âTienertoneelâ) which is theatre presented by youthful actors for a youthful audience. The collated findings of a literature review, questionnaires, interviews, practical implementation and comparison with international trends, prove that a definite gap exists in the staging of Afrikaans Youth Theatre as part of Mainstream productions for entertainment, alongside the need for Community- and Educational Theatre. The study finds that themes addressed before 1994 are more national-minded and romanticised, compared with the themes after 1994 that are more relevant and realistic in nature and also less inhibited. The theatre practitioner, working in this genre, who has a good command of the complexities of adolescence as well as the external factors which influence the adolescent, has the ability to make the right choice regarding theme, nature and style of presentation as well as content of Youth Theatre productions. Only with this in mind can Youth Theatre productions appeal to the taste and entertainment needs of the youth. The study also demonstrates that the staging of productions that integrate dance, music, drama and digital media, appeal more to the adolescent audience than conventional drama productions. In addition, the study finds that financial support from the formal sector; the National Arts Council (on a project-to-project basis); the National Lottery; as well as Provincial Arts and Culture Councils have practical implications for this industry when it comes to long-term planning for theatre practitioners and there theatre projects. Financial constraints and extended waiting periods for the outcome of applications, as well as the fact that projects have to be completed before the next applications can be handed in, inhibit and constrain the financial viability of permanent Companies who wish to pursue Youth Theatre as Entertainment Theatre alone. School tours with Educational and Community Theatre programs very often constitute the only other source of income for professional Youth Theatre Companies. Funders such as the NAC and others lack an understanding of the functioning of the theatre industry and are therefore unable to adjust funding procedure to ensure the long-term viability of this genre. In conclusion, this study finds that financially supported, quality, Youth Theatre can prevent the overall loss of audiences in the range between Child and Adult Theatre. This can only be achieved if collaboration exists between the different levels of government such as the Departments of Education, Arts and Culture, funders and professional theatre practitioners. Lastly, it is of the utmost importance for Youth Theatre that theatre on the whole is given higher priority in the policies of the Performing Arts and Education. Ample manpower and infrastructure does exist to stage Afrikaans Youth Theatre of a high standard. Lastly, it appears that the policy on theatre, and specifically Youth Theatre of the Provincial Arts Councils before the implementation of Playhouses, could be fruitfully revisited.

In this descriptive study, it was found that Pieter Fourieâs development as playwright cannot be separated from the changing socio-political, religious dogma and economic circumstances in South Africa during his childhood years, as a student, and as a creative theatre artist. The influence of fellow artists, lecturers and philosophers, and the situation and development in the world of the theatre to which he was exposed as an artist, including the influence of it on his development as an individual and writer, his involvement as professional theatre artist from 1940 to 2011, as producer and actor (1965-2005), as arts administrator at CAPAB (1957- 1986) and KKNK (1994-1999) are examined chronologically. The research problem, methodology and research design and ethical consideration are explained in short in this study. The playwrightâs role as folk theatre and informal historian within time bound, geographical and demographical systems is clarified. How these systems are reflected in the playwrightâs work is investigated. In addition, the development and functioning of internal theatre systems within which the theatre artist finds himself is explained. The influence of external systems, such as politics, religion, censorship, etc. on his life as an individual, artist and theatre administrator, is discussed. In this biographical description, Fourieâs personal and artistic career is discussed chronologically. The main corpus of the study undertakes a critical investigation of all his published plays, as well as the professional staging of these plays by several theatre institutions. Fourieâs career, initially as folk theatre writer in the realistic style and later as highly respected playwright, whose experimentation in Afrikaans drama is seen as shifting boundaries, is discussed in detail utilising literary publications, reviews and personal interviews with Fourie and other roleplayers. The study concludes that Fourie was exceptionally successful in writing accessible folk theatre, despite how innovative his work was with regards to style and content. In retrospect, his work was often predictive in nature or he fearlessly placed on stage the true political and social circumstances in the country. His work clearly can be seen as that of an informal historian. Finally, the study mentions the numerous accolades he received, with the highlight being the Hertzog Prize for Drama and the Honorary Doctorate (D.Litt.) in Drama and Theatre Arts from the University of the Free State.