Thesis (MPhil (Sustainable Development Planning and Management))--University of Stellenbosch, 2009. / This research explores spaces for enchantment and the unknown, exploring our relationship to fairy-tales and alternative ways of dreaming that break from a modern worldview, using complexity thinking as lens. I conducted extra-mural group work with two groups of adolescents from disadvantaged backgrounds. I considered the world young people receive at a metaphysical level; the world they dream of, connect to and enact. My thesis is based on the premise that we must act towards a ‘sustainable unknown development’ that goes beyond modern deadly homogenisation. The research objectives were as follows: Firstly, to explore the relationship between dreams (about the future) and a sustainable future. Secondly, to reflect, based on the group’s holding-space, on our relationship to dreams. Thirdly, to reflect on possible alternative ways of approaching the unknown and enacting enchantment to create change. Fourthly, to explore the importance of imagination and creativity with regards to the above. I review literature pertaining to the affects of the modern paradigm, specifically in its fairy tale blueprinting form, on our world. I argue that this paradigm is currently dangerous to the earth as a living system; causing the oppression and abandonment of nature, the feminine, children and our imagination. Alternative ways such as states of ‘interbeing’, polycentric thinking, and the experience of thresholds and heterotopian spaces where differences meet, are considered. The importance of personal experience and imagination in building resilience and meaning in the unknown are emphasised. My research uses a practical design of ‘enchantment methodology’. Methodologically it tries to tackle some ontological questions, considering different approaches in which negotiation is possible at a metaphysical level. My findings were that although alternative approaches do exist they cannot be generalised in a modern thinking way. Beyond the modern numbness and the tantrums of breaking away from its devastating divides, is the potential of inner wisdom found in our own hearts. Recommendations are that more holding spaces are created to promote an alternative relationship to the unknown to nurture a sense of enchantment.

Le présent mémoire de recherche-création a pour objet les réécritures théâtrales des contes. Si le conte merveilleux et le théâtre sont a priori deux genres littéraires distincts de par leur origine, leur nature et leur mode d’expression, ils présentent néanmoins des points communs qui facilitent la transgression des frontières génériques. Aussi les dramaturges se sont-ils parfois risqués à proposer des adaptations de contes merveilleux pour le théâtre. C’est par exemple le cas de Joël Pommerat, qui a récemment proposé des transpositions scéniques de trois contes traditionnels, revisitant et actualisant thèmes et personnages. Dans cet essai, je m’intéresse tout d’abord aux éléments qui favorisent la réécriture théâtrale des contes. Je m’interroge ensuite sur la manière dont Pommerat, qui fonde sa réflexion sur les apports de la philosophie, de la sociologie et de la psychanalyse, prépare ses spectacles ; ce que j’illustre en mettant en lumière la méditation menée par l’auteur sur le travail du deuil dans son spectacle Cendrillon. À l’instar de Pommerat, je présente enfin une étude psychanalytique des personnages du conte Blanche-Neige des frères Grimm. La création que je propose consiste en une transposition théâtrale du conte Blanche-Neige des frères Grimm, qui déplace situations et personnages dans le monde contemporain de l’entreprise. / The purpose of this research-creation master thesis is to rewrite the theatrical aspects of the fairy tales. While storytelling and theatre are a priori two literary genres distinct in origin, nature and mode of expression, they nevertheless share common qualities that facilitate the transgression of generic boundaries. So playwrights have sometimes ventured to offer adaptations of fairy tales for the theatre. This is the case, for example, of Joël Pommerat, who recently proposed scenic transpositions of three traditional fairy tales, revisiting and updating themes and characters. In this essay, I am first interested in the elements that promote the theatrical rewriting of fairy tales. I then ask myself how Pommerat, who bases his reflection on the contributions of philosophy, sociology and psychoanalysis, prepares his shows ; what I illustrate by highlighting the author's reflections on the work of mourning in his play Cinderella. Like Pommerat, I finally present a psychoanalytical study of the characters in the Grimm brothers' Snow White tale. The creation I propose consists of a theatrical transposition of the Grimm brothers' Snow White tale, which moves situations and characters into the contemporary world of business.