No abstract available. / Thesis (Ph.D.)-University of Durban-Westville, 1991.

Thesis (MDram (Drama))--University of Stellenbosch, 2009. / AFRIKAANSE OPSOMMING: In hierdie navorsing word gepoog om die betekenisdraende elemente van poppeteater, naamlik beweging, klank en ontwerp van naderby te ondersoek om vas te stel in watter mate al drie elemente onmisbaar is al dan nie en hoe hierdie elemente op mekaar inspeel. Die semiotiek van beide teater en poppeteater word as agtergrond en teoretiese basis vir die ondersoek bespreek. Binne hierdie elemente word verskillende kernaspekte ondersoek waaronder distorsie, oordrywing en die dubbele aard van die toneelpop as lewelose objek met ‘n verbeelde lewe. In hierdie deel van die studie word daar ook na verskillende soorte tekens gekyk, naamlik die indeks, die simbool en die ikoon. Daar word bevind dat hierdie tekens saam ‘n dubbele verskuiwing in doel kan ondergaan naamlik van teken na verwysde, en van verwysde na nuwe tekens. Hierdie verskuiwings vind in die teater, sowel as poppeteater plaas. Ontwerp, beweging en klank word afsonderlik bespreek om die aard, rol en moontlike dominansie van elkeen te bepaal. Poppeteater maak staat op die gehoor se verbeelding en gewilligheid om die toneelpop ‘n verbeelde vorm van lewe te gee. Díe siening van die toneelpop, as beide lewelose voorwerp en ‘n verbeelde vorm van lewe, staan bekend as dubbele visie. Dubbele visie kan egter nie alleen binne die poppeteater funksioneer nie, en die verskillende elemente moet saam met die gehoor se dubbele visie ingespan word om die boodskap van die poppespel oor te dra. Beweging verlewendig die toneelpop deurdat dit die illusie van lewe en die sogenaamde dubbele visie ondersteun. Verskillende toneelpoppe word verskillend beheer en geartikuleer, elk met sy eie betekenisse wat hy deur middel van beweging oordra. Daar is bevind dat klank die enigste element is waarmee weggedoen kan word in ‘n toneelpopproduksie. Terselfdertyd kan dit ook nie afsonderlik van beweging en ontwerp funksioneer nie. Wanneer klank wel gebruik word, funksioneer die hoofveranderlike kenmerke van klank soos toonhoogte, volume, tempo, infleksie, uitspraak en ritme in die oordraging van die boodskap. Die navorsing toon dat toneelpoppe nie gebonde aan realiteit is nie, en as gevolg hiervan kan die ontwerper die toneelpop maak sonder dat dit realisties hoef te wees. Ontwerp as ‘n element bepaal ook die kwaliteit en kwantiteit van toneelpoppe, sowel as die aanwending van ander ontwerp-elemente soos kleur, tekstuur, materiaal en die grootte van die toneelpop. Poppeteater is nooit ’n blote nabootsing van ’n mens of dier nie. Poppeteater kan daarom in nabootsende en konseptuele poppeteater verdeel word. Verwringing kom in beide nabootsende en konseptuele poppeteatervorme voor, hoewel tot ‘n mindere mate in nabootsende poppeteater. In konseptuele poppeteater word daar op die gehoor gesteun om die tekens wat dit ontvang korrek te interpreteer. Die betekenisdraende elemente werk saam om die boodskap suksesvol oor te dra. Klank en beweging werk saam om karakterisering te skep; so ook klank en ontwerp. Elemente kan wel afwisselend gebruik word. Die samewerking tussen beweging en ontwerp lei tot uitvoerbare beweging. Alhoewel daar met klank as ‘n element weggedoen kan word, is dit dikwels nie ideaal nie. / ENGLISH ABSTRACT: The aim of this study is to closely examine the meaning-bearing elements of puppet theatre, namely movement, sound and design to determine to what extent all three is indispensable to the puppet theatre or not, and how elements work together. The semiotics of both theatre and puppet theatre is discussed as a background and a theoretical basis for the study. Within these elements different key elements are examined, such as distortion, over-exaggeration and the double nature of the puppet as a lifeless object with an imagined life. In this part of the study different types of signs, namely the index, symbol and icon are looked at. It is found that these signs can undergo a double shift in purpose, namely from signs to referred and from referred back to signs. These shifts occur in both theatre and puppet theatre. Design, movement and sound are separately discussed to determine the nature, role and possible domination of each. Puppet theatre relies on the audience’s imagination and willingness to give the puppet an imagined form of life. Seeing the puppet as both a lifeless object and an imagined form of life is known as double vision. Double vision cannot function alone within the puppet theatre and the different elements have to work with the audience’s double vision to convey the message of the performance. Movement enlivens the puppet by supporting its illusion of life and so-called double vision. Different puppets are differently manipulated and articulated, each with its own meaning, conveyed by the movement. It is found that sound is the only element that can be disregarded in a puppetry production. At the same time it cannot function separately from design and movement. When sound is used, the main variables of sound like pitch, volume, speed, inflection, pronunciation and rhythm functions in conveying the message of the production. The research shows that puppets are not bound to reality and thus the designer can make the puppet without it having to be realistic. Design as an element also determines the quality and quantity of the puppets, as well as other design elements such as colour, texture, material and the size of the puppet. Puppetry is never a mere imitation of a human or an animal. Puppetry can therefore be divided into imitative and conceptual puppetry. Distortion is seen in both imitative and conceptual puppetry, although less so in imitative puppetry. In conceptual puppetry the audience is relied upon to interpret the signs that it receives correctly. The meaning-bearing elements work together to convey the message successfully. Sound and movement work together to create characterisation, as does sound and design. Elements can also be used alternatively. The co-operation between movement and design leads to practicable movement. Although sound as an element can be done away with, it is often not ideal.

Thesis (MDram (Drama))—University of Stellenbosch, 2006. / The actor uses the body in different ways when communicating with the audience. Physical theatre focuses less on the voice and more on the rest of the body during communication with the audience. Contact improvisation serves as training for the actor or dancer so that he or she can learn more about how the body communicates. This form of movement works mostly with the inner rather than the outer feelings. The focus is not on what the movements look like, but on what the improviser experience through the movements. Lanon Prigge and Samantha Pienaar developed various exercises that make the practicing of contact improvisation easier. These exercises serve as basis for their way of jamming. Their focus is not on technique, but on the physical skills en personal growth the improvisers experience through contact improvisation. Contact improvisation is associated with dance and acting, but is also recognised for its therapeutic quality. It has the ability to give insight to the emotional state of the improviser. Therefore it is also practiced in the field of therapy.

Thesis (MDram)--University of Stellenbosch, 2011. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die verkenning, skepping en oordrag van geslagskodes in toneelpoppe. Die studie ondersoek die gebruik van geslagskodes in die skepping van manlike en vroulike identiteite. Die navorsing word baseer op Judith Butler (1999) se teorieë met betrekking tot geslagsgedrag waarvolgens geslag uit herhaalde gestyleerde aksies bestaan waaruit manlike en vroulike identiteite geskep word. Geslag word dus deur spesifieke geslagskodes weergegee wat in kleding, optrede en kommunikasie gevind word. In die studie word daar gekyk na die drie kenmerkende tekens van kommunikasie wat betrokke is by 'n toneelpop, naamlik ontwerp, beweging en spraak. Verder ondersoek die studie ook die kreatiewe prosesse soos gevind in die verhoogproduksie Cleansed (2009) wat as praktiese verkenning gedoen is om die oordrag van geslagskodes (ontwerp, beweging en spraak) by die toneelpop te illustreer. / ENGLISH ABSTRACT: This study investigates the exploration, creation and transmission of gender codes in puppetry. It investigates the gender codes used to construct masculine and feminine identities; this is done through the exploration of Judith Butler's (1999) theories on gender performativity. According to Butler (1999) gender consists of a stylized repetition of acts and through these socially constructed acts, a gendered self is constructed. Gender is thus communicated through gender codes and these codes are found in the way we dress, act and speak. This study also investigates the semiotics of the puppet, with specific reference to design, movement and speech as significant signs. This study also investigates the creative processes of Cleansed (2009). It is through this process that the gender codes (found in the design, movement and speech of the puppet) are explored, created and ultimately transmitted.

Thesis (MDram)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: In the field of choreography, there are many different emerging theories and methodologies. One such theory uses the individual and unique performers to create and generate movement vocabulary. For the student-choreographer, who is still developing their artistic voice, certain markers need to be put in place in order to evaluate a creative process. The aim of this study is to critically reflect on a particular practical process, develop a language with which to structure improvisations, create the appropriate environment in which effective exploration can take place and finally deliver criticism on the process. This research study has a strong empirical component, focusing on my personal practice as a choreographer. This study also makes use of secondary source material that discusses the choreographic process in general, and more specifically the use of improvisation in choreography, with particular reference to the he theories and definitions of Michael Klien (2007) and Lavender and Predock-Linnell (2001), as and the choreographic innovations and methods of Merce Cunningham. Finally, this study makes use of primary source material, in the form of first-hand observations and personal interviews with a modern Physical Theatre Company, PUSH Physical Theatre Company in Rochester, NY, USA. Through the combination of the theories of Michael Klien (2007) and Lavender and Predock- Linnell (2001) both a philosophical and practical methodology develops and emerges. The results will show how the choreographic environment is engaged to not only simplify and shorten the choreographic process, but also to enhance it. The intangible energetic rapport between people, space and ideas can be harnessed as part of the process of choreography. / AFRIKAANSE OPSOMMING: Verskeie teorieë en metodologieë word tans binne die veld van choreografie ontwikkel. Onder andere gebruik een so ‘n teorie die individu en unieke deelnemers om beweging en bewegingsfrases te genereer. Vir die studente-choreograaf, wie tans nog in die proses is om ‘n kunstige stem te ontwikkel, is sekere merkers nodig om ‘n kreatiewe proses ten einde te evalueer. Die doel van hierdie studie is om krities oor ‘n spesifieke praktiese proses te reflekteer. Die proses behels die ontwikkeling van ‘n taal waarmee improvisasies gestruktureer kan word; om die gepaste omgewing te skep waarin effektiewe eksplorasie kan plaasvind en eindelik om kritiek oor die proses te lewer. Die navorsingstuk het ‘n sterk empiriese komponent wat meestal op ‘n persoonlike praktyk as choreograaf fokus. Hierdie studie maak van sekondêre material gebruik wat die choreografiese proses in die algemeen, en meer spesifiek, die gebruik van improvisasie in choreografie, bespreek. Daar word van die teorieë en definisies van Michael Klien (2007) en Lavender en Predock-Linnel (2001), sowel as die choreografiese inovasies en metodes van Merce Cunningham, melding gemaak. Derdens maak hierdie studie gebruik van primêre bronne in die vorm van eerste-handse observasies en persoonlike onderhoude met ‘n moderne Fisiese Teater geselskap, PUSH "Physical Theatre Company" in Rochester, New York, VSA. Deur die kombinasie van die teorieë van Klien en Predock-Linnell, word beide ‘n filosofiese en praktiese metodologie ontwikkel. Die resultate wys hoe die choreografiese omgewing aangewend word om beide die choreografiese proses te verkort en te versterk. Die verweefde energieke dinamiek tussen mense, spasie en idees kan gebruik word as deel van die proses van choreografie.

No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1979.

This dissertation aims to investigate an extended notion of site within site-specific dance theatre. Using multiple theoretical frameworks, which include second wave feminism and its recognition of the body as a site of/for struggle (Goldberg, 1987) in conjunction with site-specific performance theory (Kaye, 2000; Kwon, 2004), Foucault's (1979) notion of 'biopower' and cultural studies, this dissertation seeks to engage site-specific dance theatre as a mode of social and cultural production. Multiculturalism (Schechner, 1988/1991) and interculturalism (Bharucha, 1996; Schechner, 1991) in performance theory and practice, are also engaged to solidify debates around performance as instances of cultural production. These frameworks are engaged in relation to the contemporary production of site-specific dance theatre in Durban, South Africa. Local dance practitioner and academic Jay Pather's site-specific/installation works CityScapes, Durban (2002) and Home, Durban (2003) are used as case-studies for interrogation and investigation in relation to the chosen theoretical discourses. CityScapes and Home provide two instances of site-specific dance theatre that have emerged from within post-apartheid South Africa. The two works are engaged in close relation to the post-apartheid South African context, and its promotion of a 'rainbow nation' in the 'New South Africa'. CityScapes provides a platform to engage ideas of access to and ownership of dance forms and the spaces which they occupy - prompting critical questioning around the impact of South Africa's historical segregations and their influence upon contemporary (South African) society/societies. Similarly, Home provides a platform to engage notions of 'homespaces' as these relate to access to and ownership of private and public spaces, and how this impacts cultural inter(re)actions in post-apartheid South Africa. Both case-studies provide instances of critical performance practice, which allows for meaningful theoretical inter(re)action in relation to the two chosen performance works. In this light, this dissertation also provides an instance of much needed academic enquiry into the local, South African contemporary dance-scape. / Thesis (M.A.)-University of KwaZulu-Natal, 2006. / Thesis (M.A.)-University of KwaZulu-Natal, 2006.

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: The proliferation of Western actor training methods in the past century had mainly been derived from the groundbreaking research undertaken by Vladimir Nemirovich-Danchenko and Constantin Stanislavski at the Moscow Art Theatre, as well as their students Michael Chekhov, Vsevolod Meyerhold and Evgeny Vakhtangov. Poor translations of their original Russian texts have however meant that many of the principles they discovered were compromised due to misinterpretations. Yet, the ‘system’ of Stanislavski, a veritable repository of these theories, served as a template for acting teachers ranging from former American Group Theatre members such as Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner and Lee Strasberg, and the Polish director Jerzy Grotowski, to formulate their own distinctive techniques. The result has been a challenge to traditional notions of actors as impersonators to a more holistic view of actor-performers; versatile, multi-skilled artists willing to reveal themselves through sincere disclosures to an audience, as the theatre poet Antonin Artaud advocated they should. Although this interrogation of the essential nature of the 2,600 year old art of Thespis was necessary, there is a danger that its core tenets may have been marginalised in the process, a setback which might further delay the formulation of its own science. This research was undertaken to identify the core principles of the actor’s art that distinguish it from the other performing arts, as well as to determine how these might best be conveyed to student actors in a contemporary context. Employing the ‘system’ as a guide, in particular its ‘work on oneself’ process, which refers to an actor’s personal training, as opposed to ‘work on a role’, which relates to characterisation and performance, the theories of the abovementioned practitioners were examined and compared to Stanislavski’s to ascertain if they contributed to the further evolution of the art. Once an integrated theory of training emerged it was then tested in praxis, working with different groups of students during a three year period. This thesis documents the findings of both the literary research, based on an analysis of texts related to actor training, and those derived from ‘real-world’ applications of these theories in an Higher Education environment. A key aim of the study was thus to determine whether a ‘work on oneself’ form of training could be offered in the formal education sector, despite its psychological implications, and how this might be approached in a ‘healthy’ manner. A selection of audio-video recordings done during the empirical investigation accompanies the thesis in order to substantiate its theory. / AFRIKAANSE OPSOMMING: Die verspreiding van opleidingsmetodes vir Westerste akteurs in die afgelope eeu het hoofsaaklik ontstaan uit die baanbrekers-navorsing van Vladimir Nemirovich-Danchenko en Constantin Stanislavski aan die Moskou Kunsteater, sowel as dié van hul studente Michael Tsjechov, Vsevolod Meyerhold en Evgeny Vakhtangov. Swak vertalings van die oorspronklike Russiese tekste beteken egter dat van die beginsels wat hulle ontdek het weens misverstande gekompromiteer is. Tog het die 'stelsel' van Stanislavski, as neerslag van hierdie teorieë, as 'n templaat vir toneelspelopleiders gedien wat wissel van voormalige lede van die Amerikaanse Groep Teater soos Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner en Lee Strasberg, sowel as die Poolse regisseur Jerzy Grotowski, om hul eie kenmerkende tegnieke te formuleer. Die gevolg was 'n uitdaging van tradisionele sienswyses van akteurs as nabootsers tot 'n meer holistiese sienswyse van akteurs as veelsydige, multi-bekwame kunstenaars wat gewillig is om hulself opreg te onthul voor 'n gehoor, soos die teater-digter Antonin Artaud voorgestel het hul moet. Alhoewel hierdie bevraagtekening van die essensiele aard van die 2,600 jaar oue kuns van Thespis nodig was, is daar 'n gevaar dat sy kern-beginsels in die proses gemarginaliseer is, 'n terugslag wat die formulering van die kunsvorm se eie wetenskap verder mag vertraag. Hierdie navorsing is onderneem om hierdie kernbeginsels van die akteur se kuns te identifiseer wat dit van die ander uitvoerende kunste onderskei, asook om te bepaal hoe hulle die beste oorgedra kan word aan student-akteurs in 'n kontemporêre konteks. Deur die 'stelsel' as 'n gids aan te wend, in besonder die ‘werk aan jouself’ proses wat verwys na 'n akteur se persoonlike opleiding in teenstelling met ‘werk aan 'n rol’ wat verwys na karakterisering en performance, is die teorieë van die bogenoemde praktisyns ondersoek en vergelyk met Stanislavski s’n om te bepaal of hul bygedra het tot die kunsvorm se verdere ontwikkeling. Toe 'n geïntegreerde teorie van opleiding te voorskyn gekom het, is dit prakties getoets met verskeie groepe studente oor 'n tydperk van drie jaar. Hierdie tesis dokumenteer die bevindinge van beide die literêre navorsing, gebaseer op 'n ontleding van tekste wat verband hou met akteuropleiding, en die bevindinge wat uit die toepassing van die teorieë in 'n Hoër Onderwys omgewing gegroei het. 'n Belangrike doel van die studie was dus om te bepaal of 'werk aan jouself’ as opleiding in die formele onderwys sektor aangebied kan word, ten spyte van die sielkundige implikasies, en hoe dit dalk op 'n ‘gesonde’ wyse benader kan word. 'n Seleksie van klank-en-video opnames wat tydens die empiriese ondersoek gedoen is, word dus by die tesis ingesluit om sekere teorieë te ondersteun.

Thesis (MDram (Drama))--University of Stellenbosch, 2009. / This dissertation investigates the potential for horror in the comic repertoires and performance styles of clowns, in an attempt to address the popular questions of why clowns inspire fear as well as laughter, and what makes them effective monsters in the horror genre. Notwithstanding short articles which offer a general and broad account, the question of why circus clowns are often viewed as frightening figures remains largely unexplored. For this reason I intend to undertake an in-depth exploration of the wide-ranging history of clowning – which includes anthropology, theatre, film, and literature. This study focuses on finding the primary causes of clowns’ horrific potential, rather than being satisfied with secondary causes such as the effect of their depictions in horror narratives on audiences. During my investigation of specific killer clown films, graphic novels and prose novels, and by drawing on works such as Noël Carroll’s Philosophy of Horror (1990), Mikhail Bakhtin’ Rabelais’ World (1984), and various other studies of the genres of horror and , or instances of practising clowns turning to crime, or simply accepting the view that they play tricks on their audiences, or that their make-up acts as a mask and therefore makes their faces and motives ‘unreadable’. Although these explanations are legitimate, they do not adequately explain why certain clown types prove to be such effective monsters in horror narratives. Clowns typically, albeit to varying degrees, flout taboos on deformity, scatology, violence and insanity, and carry with them the latent stigma attached to these phenomena, which are also recognised as the common themes of the horror genre. The focus of this study is not on clowns as figures of comic relief in horror, but as legitimate monsters in their own right, and an attempt is made to discover how audiences’ anticipation of comic relief and the ‘laws’ of comedy are used deceptively in the construction of clowns as figures of fear. During my investigation of specific killer clown films, graphic novels and prose novels, and by drawing on works such as Noël Carroll’s Philosophy of Horror (1990), Mikhail Bakhtin’ Rabelais’ World (1984), and various other studies of the genres of horror and comedy, as well as anthropological studies of clowns, I argue that, when clowns are shifted from comedy to horror, the comical features and actions that flout the taboos on deformity, scatology, violence and insanity are reinstated as elements of horror and fear. I propose that clowns have the potential to be appropriated as monsters in the horror genre because they exhibit a paradoxical duality of fear and humour, and they have the ability to transgress and violate comedy elements to horrific effect.

Thesis (MDram)--Stellenbosch University, 2012 / ENGLISH ABSTRACT: Poetry performance as a universal phenomenon is a performing art form. The aim of this study is to explore the diverse nature of this art form. The different types are investigated according to their nature and the reasons provided as motivation for the way in which these types are presented. This study focuses on the following types: poetry found in ritual, poetry readings, poetry recitals, poetry as part of word art (woordkuns), sung poetry, the verse drama and drama’s based on poetry. Under each of these categories relevant examples of each type are discussed. A background study which is primarily focused on a brief overview of the history of poetry performance in relation to its origin and development serves as an introduction and foundation for the study. Hereupon the different types of poetry performances, with relevant and contemporary variations as examples, are being compared to each other with the aim to elucidate the main similarities as well as differences between these examples. As part of the research of poetry performance, a practical project exploring the specific nature of dramas based on poetry was executed. This drama, called Ontslape, shares various comparisons as well as differences with other examples of contemporary drama’s based on poetry. It also shares similarities with word art (woordkuns). Although it is possible to distinguish between certain types of poetry performance, it however also appears that some types overlap in more than one way and therefore the conclusion can be made that poetry performance as a phenomenon consists of various possibilities. / AFRIKAANSE OPSOMMING: Poësie performance as universiële verskynsel is ‘n uitvoerende kunsvorm. In hierdie studie word die diversiteit van die kunsvorm ondersoek. Die onderskeie tipes word ondersoek na aanleiding van die aard en doel van die aanbieding. Die studie fokus op die volgende tipes: poësie in rituele verband, poësie in voorlesing, poësie en voordrag, poësie as deel van woordkuns, poësie in sangvorm, die versdrama en poësie gebasseerde drama’s. Onder elk van hierdie afdelings word relevante voorbeelde van elke tipe breedvoerig bespreek. ‘n Agtergrondstudie wat hoofsaaklik fokus op ‘n historiese oorsig met betrekking tot die oorsprong en ontwikkeling van poësie performance dien as basis vir en inleiding tot die studie. Hierop word onderskeie tipes poësie performance met relevante en kontemporêre voorbeelde en variasies belig met die doel om die ooreenkomste en verskille tussen tipes en voorbeelde uit te lig. As deel van die verkenning van poësie performances is ‘n praktiese projek uitgevoer wat by nader ondersoek ‘n voorbeeld van ‘n poësie gebasseerde drama is. Hierdie drama, getiteld Ontslape, toon verskille en ooreenkomste met ander kontemporêre poësie gebasseerde drama’s. Dit toon ook ooreenkomste met woordkuns. Alhoewel sekere tipes poësie performances duidelik van ander geskei kan word, blyk dit dus dat sekere tipes met mekaar oorvleuel en daar word dus gevolglik tot die konklusie gekom dat poësie performance as verskynsel oor ‘n legio aantal moontlikhede beskik.