Thesis (MDram)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified. Finally, the study develops a model that can be implemented into the South African environment, and highlights specific challenges and areas that should be developed in order to create a thriving and sustainable Theatre for Young People industry in South Africa. It is evident that South Africa’s support structures differ significantly from those of other countries where Theatre for Young People industries flourish. This has caused Theatre for Young People practitioners to adopt a predominantly didactic approach to producing events for young people. The study found that, in order to create a thriving Theatre for Young People industry, a balance between the educational and entertainment values of Theatre for Young People should be maintained. / AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die verskynsel van die teatrale gebeurtenisse (theatrical events) en verfeesteliking (festivalisations) wat spesifiek op jong mense gemik is, te ondersoek. Verskeie metodes van teaterale beurtenisse en verfeesteliking word in 'n ontwerpmodel geïntegreer. Die ontwerpmodel bied 'n duidelike en omvattende begrip van die talle prosesse en strukture wat 'n belangrike rol speel in die produksie en ervaring van 'n teatergebeurtenis of fees. Die ontwerpmodel is gebruik om die tendense en praktyke van Teater vir Jongmense op sowel internasionale (spesifiek Australië) as plaaslike vlak te ondersoek en te ontleed. Die ontwerpmodel laat die studie toe om sekere sterkpunte, geleenthede, uitdagings en tekortkominge van die onderskeie bedrywe te belig. Areas van ontwikkeling vir die plaaslike bedryf word geïdentifiseer deur plaaslike tendense en praktyke met dié van die internasionale Teater vir Jongmense-bedryf te vergelyk. Ten slotte; ontwikkel die studie 'n model wat in die Suid-Afrikaanse omgewing geïmplementeer kan word. Die model beklemtoon spesifieke uitdagings en gebiede wat verder ontwikkel moet word om ten einde 'n vooruitstrewende en volhoubare Teater vir Jongmense in Suid-Afrika te skep. Dit is duidelik dat Suid-Afrika se ondersteuningstrukture aansienlik verskil van dié van ander lande met ‘n bloeiende Teater vir Jongmense-bedryf. Die verskil veroorsaak dat Teater vir Jongmense-praktisyns 'n oorwegend didaktiese benadering tot die daarstel van gebeurlikhede vir jong mense volg. Die studie het bevind dat, ten einde 'n vooruitstrewende Teater vir Jongmensebedryf te produseer 'n balans tussen die opvoedkundige- en vermaaklikheids waardes van Teater vir Jongmense moet gehandhaaf word.

The research took place while the author worked as a volunteer theatre practitioner with the Arts and Culture Group in Wesbank township near Kuils River, Cape Town, South Africa. This organisation was founded in 2002 and was the result of one woman's efforts to keep the children of Wesbank off the streets, by keeping them busy through dance, song and drama. This study investigated the impact of basic theatre training, working towards performance and the performative act itself on the psyche of the drama group participants. More specifically, the study investigated in what ways being involved in a performance can help children and young people in an underprivileged community of Wesbank to develop confidence, a sense of competence, self-reliance, creative thinking, responsibility and the ability to work as an ensemble. The research was to a great extent focused on cross-cultural communication. How could the &quot / Cape Coloured&quot / and Xhosa members of the group overcome cultural barriers and express their cultural uniqueness equally through taking part in multicultural theatre performance.

The research took place while the author worked as a volunteer theatre practitioner with the Arts and Culture Group in Wesbank township near Kuils River, Cape Town, South Africa. This organisation was founded in 2002 and was the result of one woman's efforts to keep the children of Wesbank off the streets, by keeping them busy through dance, song and drama. This study investigated the impact of basic theatre training, working towards performance and the performative act itself on the psyche of the drama group participants. More specifically, the study investigated in what ways being involved in a performance can help children and young people in an underprivileged community of Wesbank to develop confidence, a sense of competence, self-reliance, creative thinking, responsibility and the ability to work as an ensemble. The research was to a great extent focused on cross-cultural communication. How could the &quot / Cape Coloured&quot / and Xhosa members of the group overcome cultural barriers and express their cultural uniqueness equally through taking part in multicultural theatre performance.

Magister Artium - MA / The research took place while the author worked as a volunteer theatre practitioner with the Arts and Culture Group in Wesbank township near Kuils River, Cape Town, South Africa. This organisation was founded in 2002 and was the result of one woman's efforts to keep the children of Wesbank off the streets, by keeping them busy through dance, song and drama. This study investigated the impact of basic theatre training, working towards performance and the performative act itself on the psyche of the drama group participants. More specifically, the study investigated in what ways being involved in a performance can help children and young people in an underprivileged community of Wesbank to develop confidence, a sense of competence, self-reliance, creative thinking, responsibility and the ability to work as an ensemble. The research was to a great extent focused on cross-cultural communication. How could the "Cape Coloured" and Xhosa members of the group overcome cultural barriers and express their cultural uniqueness equally through taking part in multicultural theatre performance. / South Africa