M. Tech. Drama / Obscenity in the realm of theatre is certainly not new. More recently, an explosion of provocative plays by young British writers, confront the taboo of obscenity, eminently reflected in Sarah Kane's Phaedra's Love. These plays have been aptly dubbed "In Your Face theatre". Grootboom's productions share similarities with these global trends as they are reflexive of this definition in portraying this type of theatre. With the rich history of obscenity in theatre, it should come as no surprise that in reflecting more open current trends, obscenity is perceived as increasingly more tolerable in South African theatre. Grootboom's plays have managed to edge closer to controversy visible in the local furore. The reactions to Grootboom's productions have to do with the fact that full frontal nudity is unacceptable in African culture (except of course during traditional ceremonies and protests). This study seeks to discover why Grootboom's obscene theatre is so popular amongst black South Africans though at odds with their cultural perceptions of respect, relationship boundaries, communal address and personal demeanour rather than exhibitionism. It also seeks to contribute to a clearer understanding of what theatrical content current South African audience prefers.

A Dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts (in Music Research). Johannesburg, March 2016 / The thesis entitled Wherefore Musician? is a critical engagement with the experiences of musicians who were involved in dramatic theatre productions at the Market Theatre in Johannesburg between 2010 and 2014. The study is a narrative inquiry, which uncovers the lived experiences of musicians from their narration of select collaborative encounters. The narratives speak to integrated cross-disciplinary models of theatre making, where various signifiers and performance texts contribute towards a cohesive production. / MT2017

"It was clearly the Government (by a great section of the electorate) that brought politics into the theatre, and we, the producers, the actors, the theatre-goers must pay the price for it." Alan Paton. This thesis attempts to analyse the way South African Theatre is developing against a background of social transition within a political framework which has enforced a policy of separate development based on racial distinction and ethnicity. Signs of political reform are beginning to show - not only as a result of pressure from within and without - but also because economic interdependency between the groups is breaking down barriers as the third world sector of the population aspires to the attractions of the first world urban sector. Polemical issues in the performing arts, which have risen out of the prevailing socio-economic climate, range from global attempts at cultural isolation of South Africa to such pragmatic matters as absorbing into actor-training programmes the various sectors of the community with their particular ethnic and linguistic identities preserved in an apartheid system. The research takes into account the history of the South African people and the various modes of theatre which have evolved as a result of natural and, later, imposed segregation of the various cultural groups. It examines, too, the dominant cuItural trends imported from Europe which have formed an infra-structure for South African theatre from training programmes to theatre managements, as well as criteria for critical assessment of theatre as a codified form of dramatic performance. It analyses the politically sensitive but vital issue of arts funding where most sponsorship emanates from public sources. It looks at actor-training programmes in terms of cultural service to the community and the diverse needs of the performance industry and takes into account the changing focus in some tertiary drama departments in an effort to adapt to transitional social conditions. It also takes cognisance of the prevailing mood of social consciousness amongst those artists who sense the need to move towards a theatre which expresses the collective experience of the South African situation. Whether this is possible in a country as culturally diverse as South Africa and whether the socio-political climate and reform measures which the government has adopted are conducive to the growth of a genre of theatre uniquely South African in its synthesis of endogenous and exogenous traditions - a theatre that will have cross-cultural appeal - is one of the major thrusts of this research. / Thesis (Ph.D.)-University of Natal, Durban, 1988.

M. Tech. Architecture (Professional) / South Africa has some way to go before it catches up to developed countries in terms of musical education and production. Since musical skills are expensive to develop, and not currently taught at school level, a lack of funding results in many impoverished individuals missing out on the opportunity to develop musical skills that could ultimately bring about multiple career opportunities. This dissertation involves the design of a music centre on the periphery of Sunnyside, for surrounding school pupils and local youths. The centre will function as a musical education facility and public meeting space, in an urban district. The development of this new facility would hopefully act as a catalyst for the rejuvenation of the pedestrian walkway next to the Walker Spruit; by integrating and redesigning the green space next to the proposed site

Thesis (MTech. degree in Architecture (Professional))--Tshwane University of Technology, 2011. / Probably one of the strongest common threads running through the multi-cultural society of South Africa is its passion and love for the public performing arts. The thesis therefore encompasses the design of a Performing Arts Centre in Pretoria. The intention is to use the building and surrounding urban space to promote performing arts activities, where they can be taught, refined and performed. The intent is to provide a building which will not only house the performing arts, but also engage the urban place as a public performance stage.