Wom Pol Perf S/Afr Thre Vol 2

Volume 2

Goodman L

• Publisher: Routledge
• Year: 2005
• ISBN:
  9781135298777
• Edition: 1
• Topic: Media & Performing Arts
• Subtopic: Performing Arts

Part two of a three texts compiled during the years of change in South Africa, charts the impact of Apartheid and the cultural boycott on performance, and examining the role of women in theatre. Part two contains interviews with key theatre practitioners.

Contemporary Theatre Review	© 1999 OPA (Overseas Publishers Association) N.V.
1999, Vol. 9, Part 2, p. 85–88	Published by license under
Reprints available directly from the publisher	the Harwood Academic Publishers imprint,
Photocopying permitted by license only	part of The Gordon and Breach Publishing Group.
	Printed in Singapore.

Index

advertising, 25

of theatre, 63, 65

affirmative action, in universities, 7

African cultures, 8, 19

Afrikaner 1, 46

Xhosa, 42–43, 46–47, 69

Zulu, 6, 42

Afrikaans language, 6, 57, 68, 69

Afrikaner culture, 1, 46

universities, 6

Albee, Edward, 27–28

all the Rage, see Denison, Janine Aloe St, 65

ANC (African National Congress), 9, 17, 53, 61

Cultural Desk, 28, 67

Women’s League, 17

Apartheid (and after), 27, 32, 37, 57, 59, 62

effects on gender and drama, 5–26

plays opposing, 46

attendance patterns, 1

at Grahamstown Festival, 61, 64, 66–69

audience(s), 1–4, 29–30, 31, 35, 36–37, 51–52, 57

at Grahamstown Festival, 61 ff.

languages understood by, 8, 58, 68

London compared with Johannesburg, 33–34

naive versus sophisticated, 48

reception of Fugard, 54

Banning, Yvonne, conversations with Lizbeth Goodman, 5–26

Black Sash, the, 19

history and purpose, 20–21

Blumberg, Marcia, 65

Boesman and Lena, see Fugard, Athol

Brecht, Bertolt, 7, 27 ff.

Brechtian techniques in Fugard’s The Coat, 54

British context for South African plays, 40

Bryceland, Yvonne, 1, 3

Buckland, Janet, 65

bulimia, 65

Cape Flats Players, 67–68

Civic Theatre, the, 36 ‘classic theatre’ adaptations, on stage, 27 ff.

coloured (designation of race, as opposed to black or white) people, 3, 46

at Grahamstown Festival, 61, 66, 68, 69

in Dike’s The First South African, 46–47

in Fugard’s Boesman and Lena, 54

treatment by universities, 6, 18

comedy (role in culture), 18–19, 24

Brother Jero, 54

creativity, 37, 40

cross-cultural study, 5

cultural boycott, 27, 33, 35–36

cultural developments in South Africa 1993–6, 5–26, 27– 37, 51–59

Curry, Bill, 1

dance, 11, 68

as protest, 16

D’Earth, Serius, 65

Deathbleedsnot, 65

deconstruction, 39–50

Dem …die Intolerance, 67–68

Denison, Janine, all the Rage, 65

Dike, Fatima, 1, 10, 11, 39, 42, 66

and comedy, 19

The First South African, 45–50

So What’s New?, 66

disempowerment (see also empowerment), 8, 52

domestic violence, 21

plays and performances about, 64, 65–66

Dowling, Leslie Rae, 69

drama therapy...

Table of contents

• Front Cover
• Title Page
• Copyright
• Contents
• Speaking With and Without Words—An Interview with Nomhle Nkonyeni
• Two Conversations with Yvonne Banning about Gender and Drama in South African Theatre During and After Apartheid
• A Conversation with Janet Suzman on South African Theatre and the Politics of the ‘Classics’: Shakespeare and Brecht During and After the Cultural Boycott
• A Comparative Perspective on Two Plays by South African Women
• ‘My English Name is Patience’: Mediating the Voice of the Other in South African Theatre Today
• Patterns of Change; Audience, Attendance, and Music at the 1994 Grahamstown Festival
• Glossary of Terms, Names, Events, and Places
• Suggested Further Reading
• Notes on Contributors
• Index