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.

Thesis (MA)-- Stellenbosch University, 2012. / ENGLISH ABSTRACT: The establishment of literary festivals as a type of event that is presented both nationally and internationally has expanded tremendously in recent years, but it has not as yet received the necessary attention to fully understand its impact on and sociocultural function in a host community. This thesis attempts to formulate a working definition for the phenomenon, in order to gain more insight in its sociocultural function and impact in a host community and thus to contribute towards a more substantial discourse on the subject. The hypothesis is firstly that literary festivals come into existence due to specific needs in the host society and secondly that the strategic application of rhetorical strategies have a positive sociocultural impact. It is argumented that literary festivals function according to the principles of Aristotle’s rhetoric, by convincing festival visitors that books, reading, writing, debating and freedom of speech are of great aesthetic, moral and educational value. The eventual aim is to cause festival visitors to show greater appreciation for literary texts, as illustrated by their increased participation in reading, writing and other literary activities. The following theories serve as points of departure: the system theory as expounded by Itamar Even-Zohar, Gerard Hauser’s application of rhetorics to the public sphere, the ritual theories of Victor Turner and Jeremy Boissevain, as well as festival theories by Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch and Michael Kamp. The programmes, festival contents and other relevant texts that form part of two selected literary festivals, i.e. the Stellenbosch University’s (SU) Wordfest (Woordfees) and the Amsterdam Weerwoordfestival, are scrutinised in order to prove that these festivals are strategically constructed to have a persuasive effect on festivalgoers. A festival’s survival and sustainability is determinated by its establishment of a strong own character; good management (also in times of crisis); effective networks; and the persuasion of both target groups and interest groups that supporting the festival is to their own advantage. / AFRIKAANSE OPSOMMING: Die literêre fees, as tipe gebeurtenis wat toenemend nasionaal én internasionaal aangebied word, het tot dusver min aandag van navorsers geniet. Ten einde die sosio-kulturele funksie en krag daarvan in ’n gasheergemeenskap te probeer vasstel en te omskryf, asook om by te dra tot ’n meer omvangryke diskoers oor hierdie fenomeen, word bestaande teorieë oor feeste in die algemeen dus in hierdie studie as vertrekpunt gebruik en aangepas by literêre feeste. Die hipotese is eerstens dat literêre feeste ontstaan in reaksie op behoeftes in die gasheergemeenskap en tweedens dat die aanwending van retoriese strategieë in literêre feeste ’n positiewe sosio-kulturele impak tot gevolg kan hê. Na aanleiding van Aristoteles se uitgangspunte oor die retorika word voorgestel dat die funksie en werking van literêre feeste retories van aard is: Die organiseerders wil feesdeelnemers oorreed dat lees, skryf, debattering en vrye meningswisseling esteties, opvoedkundig en moreel waardevol is, om sodoende ’n groter belangstelling in en deelname aan literêre aktiwiteite te probeer bewerkstellig. Die volgende teoretici se uitgangspunte word veral gebruik: dié van Itamar Even-Zohar oor die sisteemteorie, Gerard Hauser se toepassing van die retorika op ’n openbare sfeer, ritueelteorieë deur Victor Turner en Jeremy Boissevain, sowel as feesteorieë van Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch en Michael Kamp. Deur ’n vergelykende studie van die ruimer konteks, feesprogramme en ander relevante tekste wat deel uitmaak van twee literêre feeste, naamlik die Universiteit Stellenbosch Woordfees en die Amsterdamse Weerwoordfestival, word nagegaan hoe hierdie feeste strategies en oorredend funksioneer deurdat beide literêre én nie-literêre elemente geselekteer (inventio) en gekombineer (dispositio) is om ’n sterker positiewe eventiserende betekenis oor te dra as in die alledaagse lewe. Die gevolgtrekking is dat effektiewe retoriese strategieë sterk afhanklik is van die konteks waarbinne feeste plaasvind. Die voortbestaan en volhoubaarbaarheid van literêre feeste word veral bepaal deur die vestiging van ’n sterk eie identiteit; goeie bestuur (ook in krisisse); doeltreffende netwerke, asook deur die oorreding van beide teikengroepe én belanghebbers dat hulle wen deur die fees te ondersteun.