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"Memory is a weapon" : the uses of history and myth in selected post-1960 Kenyan, Nigerian and South African playsHutchison, Yvette 12 1900 (has links)
Thesis (PhD)--Stellenbosch University, 1999. / ENGLISH ABSTRACT: In hierdie proefskrif word gekyk na die verwantskap tussen geskiedenis, mite, geheue
en teater. Daar word ook gekyk na die mate waartoe historiese of mitiese toneelstukke
gebruik kan word om die amptelike geheue en identiteite, soos deur bewindhebbers in
post-koloniale Nigerie en Kenya geskep, terug kon wen of uit kon daag. Hierdie
werke word dan vergelyk met die soort teater wat tydens die Apartheidbewind in
Suid-Afrika geskep is, om verskille en ooreenkomste in die gebruik van historiese en
mitiese gegewens te bekyk. Die slotsom is dat een van die belangrikste kenmerke van
die teater in vandag se samelewing sy vermod is om alternatiewe historiese narratiewe
te ontwikkel wat kan dien as teen-geheue ("counter-memory") vir die dominante
narratief van amptelike geskiedenisse. Sodoende bevraagteken die teater dan ook 'n
liniere en causale siening van die geskiedenis, maar interpreteer dit eerder as
meervoudig en kompleks. / AFRIKAANSE OPSOMMING: This thesis considers the relationship between history, myth, memory and theatre. The
study explores the extent to which historic or mythic plays were used to either reclaim
or challenge the official memories and identities created by those in power in the postcolonial
Kenyan and Nigerian context. These are then compared to the South African
theatre created during Apartheid, exploring the similarities and differences in the
South Africans use of historic or mythic referents. The conclusion reached is that one
of the most powerful aspects of theatre in society is its ability to create alternate
historic narratives that become a counter-memory to the dominant narrative of official
histories. It also challenges seeing history as linear and causal, and makes it more
plural and complex.
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Ikoon en Medium: die toneelpop, masker en akteurmanipuleerder in Afrika-performancesDu Preez, Petrus 12 1900 (has links)
Thesis (DPhil (Drama)--University of Stellenbosch, 2007. / This study aims to describe the puppet, mask and actor as icons or mediums in performance in
Africa. The types of performances that will be discussed are religious performances, as well as
liminal and hybrid performances. It is in the cases where the mask and puppet are used in religious
performances, such as rituals, that the iconic characteristics or values are added to the mediumship
of the object. In such cases, these objects do not represent concepts/thoughts/persons/spirits; they
are these things in the space of the ritual. Matters pertaining to representation and acting are
discussed, since iconic representation does not allow for acting from the performer. The actor can
function with, or independently, as an icon, while all these performance elements can function as
mediums in a performance using acting or role-play. These different concepts are then applied by
discussing the term performance. The different elements of a performance and its characteristics –
such as the use of time, space, objects, productivity and rule of a performance – are explained. The
creation of a performance through the use of restored behaviour as well as the possible results of a
performance in the sense of transportation and transformation as temporary or permanent changes
in the performers or audience members is then addressed in the discussion. Different performance
genres such as rituals and social drama will be used to describe the function of the mask, puppet and
actor in liminal and liminoid performances, and to show how these different performance objects
function as icons and/or mediums in these genres. Hybrid forms of performance that cannot be
classified as purely liminal or liminoid performances are also studied, since these types of
performances are often found in contemporary performances in Africa. The production Tall Horse
is used to apply performance theory to see how the different performance objects function in
changed context in a hybrid performance.
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