Theatre: regulation, resistance and recovery

doi:10.1017/CHOL9780521199285.029

27 - Theatre: regulation, resistance and recovery

from PART V - APARTHEID AND ITS AFTERMATH, 1948 TO THE PRESENT

Published online by Cambridge University Press: 28 January 2012

Loren Kruger

Edited by

David Attwell and

Derek Attridge

Show author details

David Attwell: Affiliation:
University of York
Derek Attridge: Affiliation:
University of York

Book contents

Get access

Summary

Although twentieth-century literary drama in English and Afrikaans appeared in separate milieus in print, on stage or in informal circulation, theatrical practice mixed indigenous forms like izibongo (praises) and ingoma (music) with modern inventions like vaudeville, minstrelsy and the jazz musical. This diversity reflected a syncretic history and hinted at an integrated future, despite the entrenchment of segregation. Whilst segregationists would have denied these facts, supporters of an integral South Africa found in theatre a place and occasion for staging unity in diversity and an alternative public sphere in a hostile state. Theatrical forms identified with South Africa in the last half-century have been thoroughly hybridised, whether in variations of international forms like satirical skits or intimate confessionals or in distinctly local transformations:

• the musical fuses ingoma ebusuku (literally: ‘music by night’; analytically: performance by professionals or aspirants in urban settings for cash) and the African American jazz revue to produce multilingual drama with songs, dance and dialogue.

• the testimonial play or theatre of witness, protest or resistance, testifies to individual and collective struggle, blending dialogue, narrative, and polemical statements; its trajectory includes Herbert Dhlomo's The Pass (1942), Athol Fugard's No-Good Friday (1958), as well as Survival (1976) and other collectively created plays, culminating in Born in the RSA (1986). The best bear powerful witness, but the relative authority and authorship of witness and interpreter remain controversial. (For these and other South African theatrical genres, see Kruger, Drama of South Africa, pp. 1–34, 86–99, 154–209)

Type: Chapter
Information: The Cambridge History of South African Literature , pp. 564 - 586

DOI: https://doi.org/10.1017/CHOL9780521199285.029 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Aron, G.Bar and Ger, Cape Town: Oxford University Press, 1975.Google Scholar

Aron, G. ‘Bar and Ger’, in Houghton-Hawksley, H. S. (ed.), Play Spectrum: Short Plays for High School, Cape Town: David Philip, 1986.Google Scholar

Bailey, B., ‘iMumbo Jumbo’, in The Plays of Miracle & Wonder. Cape Town: Double Storey, 2003.Google Scholar

Bailey, B., ‘Ipi Zombi?’, in Graver, D. (ed.), Drama for a New South Africa, Bloomington: Indiana University Press, 1999.Google Scholar

Barnard, C.Die Rebellie van Lafras Verwey, Cape Town: Tafelberg, 1971.Google Scholar

Bloom, H., and Matshikiza, T.. King Kong – An African Jazz Opera, London: Collins, 1961.Google Scholar

Brink, A.Aspekte van die Nuwe Drama, Cape Town: Human & Rousseau, 1986.Google Scholar

Butler, G.The Dam, Cape Town: Balkema, 1953.Google Scholar

Coetzee, G. ‘White Men with Weapons’, in Coetzee, G., Johnny Boskak is Feeling Funny and other plays, Pietermaritzburg: University of Kwazulu-Natal Press, 2009.Google Scholar

Cooke, V., Honeyman, J. and Keogh., D. ‘This is for Keeps’, in Gray, S. (ed.), Market Plays, Johannesburg: Ad Donker, 1986.Google Scholar

Davids, N.At her Feet, Cape Town: Oshun, 2006.Google Scholar

Davis, G. V. (ed.). Beyond the Echoes of Soweto, Amsterdam: Harwood Academic Publishers, 1997.Google Scholar

Dhlomo, H. I. E. ‘The Pass’, in Visser, N. and Couzens, T. (eds.), Collected Works, Johannesburg: Ravan, 1985.Google Scholar

Dike, Fatima. The First South African, Johannesburg: Ravan, 1979.Google Scholar

Dike, Fatima. ‘Glass House’, in Banham, M. et al. (ed.), African Theatre Women, Oxford: James Currey, 2002.Google Scholar

Dike, Fatima. ‘The Sacrifice of Kreli’, in Gray, S. (ed.), Theatre One, Johannesburg: Ad Donker, 1978.Google Scholar

Du Plessis, P. G.Siener in die Suburbs, Cape Town: Tafelberg, 1971.Google Scholar

Farber, Y.Molora, based on Oresteia by Aeschylus, London: Oberon Books, 2008.Google Scholar

Farber, Y., with Kumalo, D.. ‘He Left Quietly’, in Theatre as Witness, London: Oberon Books, 2008.Google Scholar

Farber, Y., with Mtshali-Jones, T.. ‘A Woman in Waiting’, in Theatre as Witness, London: Oberon Books, 2008.Google Scholar

Foot-Newton, L.Tshepang, London: Oberon Books, 2005.Google Scholar

Fourie, C. J. ‘Don Gxubane Onner die Boere’, in Vrygrond, Die Eend, and Don Gxubane Onner die Boere, Cape Town: Tafelberg, 1994.Google Scholar

Fourie, C. J., and Mhlophe, G. (eds.). New South African Plays, London: Aurora Metro Press, 2006.Google Scholar

Fugard, A. ‘Blood Knot’, in Blood Knot and other Plays, New York: Theatre Communications Group, 1987.Google Scholar

Fugard, A. ‘Blood Knot’, in Selected Plays, intro. Walder, D., Oxford University Press, 1987.Google Scholar

Fugard, A.Boesman and Lena, Oxford University Press, 1973.Google Scholar

Fugard, A. ‘Master Harold … and the Boys, Oxford University Press, 1983.Google Scholar

Fugard, A. ‘Master Harold – and the Boys, New York: Penguin, 1984.Google Scholar

Fugard, A.People are Living There, Oxford University Press, 1970.Google Scholar

Fugard, A.The Road to Mecca, New York: Theatre Communications Group, 1991.Google Scholar

Fugard, A. ‘Statements after an Arrest under the Immortality Act’, in Statements: Three Plays, Oxford University Press, 1974Google Scholar

Fugard, A.Township Plays, ed. Walder, D., Oxford University Press, 1993.Google Scholar

Fugard, A., Kani, J. and Ntshona, W.. Statements: Three Plays [Sizwe Banzi is Dead, The Island and Statements after an Arrest under the Immorality Act], New York: Theatre Communications Group, 1986.Google Scholar

Govender, K. Working Class Hero, in Bose, N. (ed.), Beyond Bollywood and Broadway: Plays from the South Asian Diaspora, Bloomington: Indiana University Press, 2009.Google Scholar

Govender, R. G. ‘1949’, in At the Edge and other Cato Manor Stories, Pretoria: R. G. Govender and MANX, 1996.Google Scholar

Govender, R. G.The Lahnee's Pleasure, Johannesburg: Ravan, 1977.Google Scholar

Govender, R. G. The Lahnee's Pleasure, in Bose, N. (ed.), Beyond Bollywood and Broadway: Plays from the South Asian Diaspora, Bloomington: Indiana University Press, 2009.Google Scholar

Graver, D. (ed.). Drama for a New South Africa: Seven Plays, Bloomington: Indiana University Press, 1999.Google Scholar

Graver, D., and Kruger, L.. Synopsis of Bachaki Theatre's ‘Top Down’, Maske und Kothurn 35:1 (1989).Google Scholar

Grootboom, P.Foreplay. Based on Der Reigen by Schnitzler, A., London: Theatre Royal Stratford East, 2009.Google Scholar

Grootboom, P., and Chweneyagae, P.. Relativity: Township Stories, Johannesburg: Dung Beetle Dramas, 2006.Google Scholar

Gunner, L. ‘Contaminations: BBC Radio and the Black Artist: Lewis Nkosi's “The Trial” and “We can't all be Martin Luther King”’, in Gunner, L. and Stiebel, L. (eds.), Still Beating the Drum: Critical Perspectives on Lewis Nkosi, Johannesburg: Witwatersrand University Press, 2006.Google Scholar

Hauptfleisch, T., and Steadman, I. (eds.). South African Theatre, Pretoria: HAUM, 1983.Google Scholar

Hobbs, S., et al. Hillbrow/Dakar, installation and walk documented at www. onair. co. za [Tour Guides for the Inner City], assessed 6 June 2011.

Homann, G. (ed.). At this Stage: Plays from Post-Apartheid South Africa, Johannesburg: Witwatersrand University Press, 2009.Google Scholar

,Junction Avenue Theatre Company. ‘Randlords and Rotgut’, in Orkin, M. (ed.), At the Junction: Four Plays by the Junction Avenue Theatre Company, Johannesburg: Witwatersrand University Press, 2001.Google Scholar

,Junction Avenue Theatre Company. Sophiatown, Cape Town: David Philip in association with Junction Avenue Press, 1988.

Kani, J.Nothing but the Truth, Johannesburg: Witwatersrand University Press, 2002.Google Scholar

Kani, J. (selector). More Market Plays, Johannsburg: Ad Donker, 1994.Google Scholar

Kavanagh, R. M. (ed.). South African People's Plays, London: Heinemann, 1981.Google Scholar

Klerk, W. A.Die Jaar van die Vuur-os, Cape Town: Tafelberg, 1952.Google Scholar

Kramer, D., and Petersen, T.. District Six – the Musical, Cape Town: Blik Music, 1986.Google Scholar

Kramer, D., Ghoema, Cape Town: Blik Music, 2005.Google Scholar

Kruger, L.The Drama of South Africa: Plays, Pageants and Publics since 1910, London: Routledge, 1999.Google Scholar

Lasker, C. as Kanna – He is Coming Home, New York: Garland, 1992.Google Scholar

Louw, N. P.Wyk, . Die Dieper Reg, Cape Town: Nasionale Pers, 1947.Google Scholar

Louw, N. P.Die Pluimsaad Waai Ver, Cape Town: Human & Rousseau, 1972.Google Scholar

Malan, R. (ed.). The Distance Remains and other Plays, Cape Town: Oxford University Press, 1996.Google Scholar

Maponya, M.Doing Plays for a Change, Johannesburg: Witwatersrand University Press, 2001.Google Scholar

Mda, Z. ‘The Bells of Amersfoort’, in Fools, Bells and the Habit of Eating, Johannesburg: Witwatersrand University Press, 2002.Google Scholar

Mda, Z. ‘And the Girls in their Sunday Dresses’, in And the Girls in their Sunday Dresses and other Plays, Johannesburg: Witwatersrand University Press, 1993.Google Scholar

Mda, Z.Plays of Zakes Mda, Johannesburg: Raven Press, 1990.Google Scholar

Mda, K. (compiler). Four Plays, Florida Hills: Vivlia, 1996.Google Scholar

Mtwa, P., Ngema, M. and Simon, B.. Woza Albert!, London: Methuen, 1990.Google Scholar

Mtwa, P., Ngema, M. and Simon, B.. ‘Woza Albert!’, in Banham, M. and Plastow, J. (eds.), Contemporary African Plays, London: Methuen, 1999.Google Scholar

Naidoo, M.We 3 Kings, Durban: Asoka Theatre Publications, University of Durban Westville, 1992.Google Scholar

Ndhlovu, D. (ed.). Woza Afrika!, New York: Braziller, 1986.Google Scholar

Ngema, M. ‘Asinamali!’, in Ndlovu, D. (ed.), Woza Afrika!. Mbongeni Ngema's Sarafina!, Cape Town: Nasou, 2006.Google Scholar

Nkosi, L.Home and Exile, 2nd edn, London: Longman, 1983.Google Scholar

Nkosi, L.The Rhythm of Violence, in Wellwarth, G. (ed.), Themes in Drama, New York: T. Crowell, 1973.Google Scholar

Onselen, C.The Seed is Mine: The Life of Kas Maine, African Sharecropper, 1894–1985, Cape Town: David Philip, 1996.Google Scholar

Opperman, D.Donkerland, Cape Town: Tafelberg, 1996.Google Scholar

Opperman, D.Môre is 'n Lang Dag and Die Teken, Cape Town: Tafelberg, 1986.Google Scholar

Opperman, D. ‘Curl up and Dye’, in Gray, S. (ed.), South African Plays, London: Nick Hern, 1993.Google Scholar

Pam-Grant, S., with Grant, D. J.. ‘Curl Up and Dye’, in Barr, A. P. (ed.), Modern Anglophone Drama by Women, New York: Peter Lang, 2007.Google Scholar

Perkins, K. A. (ed.). Black South African Women: An Anthology of Plays, London: Routledge, 1998.Google Scholar

Petersen, O., and Isaacs, D.. Joe Barber, VHS, Cape Town: Djamaqua Productions, 2003.Google Scholar

Pillay, K.Looking for Muruga, Durban: Asoka, 1995.Google Scholar

,Serpent Players. ‘The Coat’, Classic 2:3 (1967).

Simon, B., and the Market Theatre cast. ‘Born in the RSA’ and ‘Black Dog/Inj'emnyama’, in Born in the RSA: Four Workshopped Plays, Johannesburg: Witwatersrand University Press, 1997.Google Scholar

Slabolepszy, P.Mooi Street and other Moves, Johannesburg: Witwatersrand University Press, 1994.Google Scholar

Slabolepszy, P.Saturday Night at the Palace, Johannesburg: Ad Donker, 1985.Google Scholar

Small, A.Kanna Hy Kô Hystoe, Cape Town: Tafelberg, 1980.Google Scholar

Smit, B.Don Juan Onner die Boere, Cape Town: Human & Rousseau, 1967.Google Scholar

Smit, B.Putsonderwater, Cape Town: Tafelberg, 1979.Google Scholar

Smit, B.Die Verminktes, 2nd edn, Johannesburg: Perskor-uitgewery, 1976.Google Scholar

Themba, C. ‘The Suit’, in Patel, E. (ed.), The World of Can Themba, Johannesburg: Raven, 1985.Google Scholar

Themba, C., and Wyk, C. (stage adaptor). The Suit, Johannesburg: Viva Books, 1994.Google Scholar

Uys, P-D.Paradise is Closing Down and other Plays, Harmondsworth: Penguin, 1989.Google Scholar

Uys, P-D.Selle Ou Storie, Johannesburg: Ad Donker, 1983.Google Scholar

Wet, R. ‘African Gothic’, in Plays Two, London: Oberon Books, 2007.Google Scholar

Wet, R. ‘Crossing’, in Wet, R. and Stead, S. (trans.), Plays One, London: Oberon Books, 2000.Google Scholar

Wet, R. ‘Three Sisters 2’, in A Russian Trilogy, London: Oberon Books, 2002.Google Scholar

Witz, L.Apartheid's Festival: Contesting South African's National Pasts, Bloomington: Indiana University Press, 2003.CrossRef Google Scholar

Book contents

27 - Theatre: regulation, resistance and recovery

Summary

Access options

References

Save book to Kindle

Save book to Dropbox

Save book to Google Drive