Includes bibliographical references (leaves 102-105). / In a developing country such as South Africa, the challenge to locate new, effective methods of social development is key. This study argues that applied theatre has the potential to become a powerful medium for the fulfilment of this aim. The development and performance of this kind of theatre, which occurs outside of conventional theatre settings and deals with social issues in a participatory way with its audience, brings people of different genders, ages, races and classes together. In doing so, a community is formed, dynamic and multidimensional in nature. This is a divergence from conventional understandings of community as a single static, objective entity. Community building practice centres around this reconceptualisation of community, providing an orientation to the ways in which people who identify as members of a shared community engage together in the process of community change.

Includes bibliographical references (leaves 52-56). / In this paper I explore and develop the notion of Citizen Theatre. Chaper 1 sets the contextual background that influenced my theory and practice. I examine the theory of structures of power as expounded by Magaisa (2006), and how it is applicable to Zimbabwe, In this chaper I briefly refer to the history of the liberation struggle and the current situation in Zimbabwe as a way of tracing the development of propaganda that informs the structures the power in Zimbabwe.

This study employs Jean-Paul Sartre’s theories of the ‘analogon’ and the imaging consciousness to develop the relationship between body and object in mask performance (Sartre, 1948:23). I suggest that the idea of the analogon allows for the body to be extended through, or invested into, objects to make new bodies (Shephard 2006: 150). These new bodies can possess multiple functions, when in relation to one another, one of which is to create metaphorical imagery which aids the development of story in the audience’s imaging consciousness. The study proposes that the analogon has the ability to pull the audience’s consciousness into a space that lies between the real and the fantastical, a space that can be defined as the imaginary. Furthermore, the study explores the idea that the combination of the imaging consciousness, the analogon and mask technique, through improvisational play, via negativa and transposition, can be utilized as a methodology towards developing the physical body as a mode of communication. This methodology extends the relationship between bodies and non-bodies (Shephard, 2006: 150) in mask performance, and uses this as a means of generating metaphorical images in order to make the imaginary world (which I refer to as story) come alive in the audience’s imaging consciousness

Includes bibliographical references. / The aim of this enquiry is to deepen the understanding of the author's practice as theatre designer, scenographer and visual dramaturge in a postdramatic milieu. This study creates a theoretical frame for a research-led performance that is especially dependent on the release of 'active energies of imagination' (Lehmann, 2006:16). The performance will take the form of a scenographic event,which does not depend on 'the principles of narration and figuration' (Lehmann, 2006:18). Instead it relies on a 'visual dramaturgy ' in which just as in front of a painting, activates the dynamic capacity of the gaze to produce processes, combinations and rhythms on the basis of the data provided by the stage' (Lehmann, 2006:157). The study proposes that the release of 'active energies of imagination' (2006:16) extends beyond the space of the live event, tracking its origin to the interaction between the designer and the materials of her art.

In a continent built on competing patriarchal cultures and traditions, the Eurocentric perspective is dominant. The suit/blazer has become a symbol of morality, power, and class that has centred its position via the violent legacy of colonialism and slavery or as Edward Said defines these legacies, via notions of “cultural imperialism”. The purpose of this paper is to inquire whether an aesthetic change from this ideological legacy would ultimately lead to a change in African masculine embodiments. The research identifies and applies multiple references from different applications of embodied resistance: sartorial displays, fashion design, drapery and theories around the gendered body and its relation to clothing for such a purpose – performed hereas „methods of undress‟.

Includes abstract. / Includes bibliographical references (leaves 61-64). / This dissertation is an enquiry towards creating an environment for 'equal' collaboration between international partners in an applied theatre project. As a direct case study, I used my master's fieldwork project, No-man's land, a theatre project involving performers from South Africa and The Netherlands. The problematics of international exchanges in which people, resources and art works are brought together over long distances, generates issues around power, culture and the performing arts which demand attention from project partners. The term 'No Man's Land' isthe metaphor developed throughout this dissertation in order to conceptualise the space of collaboration, as well as the mentality such a collaboration necessitates. The focus here is on international collaboration projects within the field of applied theatre that have the potential to unite artists from different backgrounds to explore issues of mutual interest through theatre processes and performances.

Includes bibliographical references. / This paper presents: The Frieze, The Anatomy Lecture Theatre and The Security Hut as outcomes of my practice-based research project into strategies of making autotopographical performance. Departing from Gonzalez’s theory of autotopography (1995), which focuses on objects belonging to individuals that are seen to signify their identity, and drawing on Heddon’s (2002; 2008), Bal’s (2002) and Arlander’s (2012) subsequent discussions around the term, I unpack the process of making live art performances in response to a site. During the process of making I examined the relationships between the material landscape, my processes of memory and my sense-of-self.

Includes bibliographical references (leaves 53-55). / The major research behind this written explication was the creation of a play about tea-cups and doing the washing. This production was devised, directed, designed and written with several UCT drama students, other selected performers and musicians and played at The Little Theatre, Orange St, Cape Town, in October 2004. I wanted to make a piece of 'home - grown' theatre, a term I have developed to describe a primarily visual art-form that focuses on recognising beauty in everyday existence. Home-grown theatre is concerned with the profound importance of very commonplace things and the complexity and density contained within this mundane terrain. This paper explains the concepts and principles that surround home-grown theatre to provide a context for the thinking and the motivation behind it. This paper explicates both the theory that informed my ideas for its conception and the philosophies of art and science that inspired my style for making the play. It investigates the work and writings of artists, philosophers, scientists, playwrights and theatre practitioners, who all identify elements in their fields, which link them to my home-grown theatre.

The study utilizes the practitioner/researcher’s own artistic process as a laboratory, if you will, to conduct a broader inquiry into how theatre masks work and a facilitator’s role within the process of "bringing them to life."

A thesis submitted in accordance with the requirements for the Master’s Degree in Education at the University of Zululand, 2019. / The challenge of underperforming learners undermines the intention of the government to see that each and every child is educated. Underperformance in some subjects, including Life Sciences, in Grade 12 in the Luvuvhu Circuit is still a problem. The aim of this study was to investigate the factors affecting performance of Grade 12 learners at Luvuvhu Circuit. The performance of the learners is not acceptable to the level of contributing to quality overall results. A qualitative research design was used in this study and data was collected through face-to-face semi-structured interviews. Interviews were tape-recorded and notes-taking done to add the interviews. Purposive sampling procedure was followed in selecting participants for this study. Data was collected from teachers who teach Life Sciences in Grade 12 at Luvuvhu Circuit. The results showed that learners’ performance was due to lack of labs, late arrival of the common tasks, absenteeism, substances abuse, location of schools and others. It is recommended that the Department should make provision of laboratories at various schools within the circuit, common tasks to be distributed and administered simultaneously at various circuits. The findings provided recommendations that will be shared not only at Luvuvhu Circuit but also throughout the entire education system to reduce the high failure rate in Grade 12 learners in Life Sciences. Areas of focus identified might also be shared with the subject advisors at district level. / National Research Foundation