South African theatre as/and intervention
著者
書誌事項
South African theatre as/and intervention
(Cross/cultures : readings in the post/colonial literatures in English, 38)
Rodopi, 1999
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
内容説明・目次
内容説明
One of the most striking features of cultural life in South Africa has been the extent to which one area of cultural practice - theatre - has more than any other testified to the present condition of the country, now in transition between its colonial past and a decolonized future. But in what sense and how far does the critical force of theatre in South Africa as a mode of intervention continue?
In the immediate post-election moment, theatre seemed to be pursuing an escapist, nostalgic route, relieved of its historical burden of protest and opposition. But, as the contributors to this volume show, new voices have been emerging, and a more complex politics of the theatre, involving feminist and gay initiatives, physical theatre, festival theatre and theatre-for-education, has become apparent.
Both new and familiar players in South African theatre studies from around the world here respond to or anticipate the altered conditions of the country, while exploring the notion that theatre continues to 'intervene.' This broad focus enables a wide and stimulating range of approaches: contributors examine strategies of intervention among audiences, theatres, established and fledgling writers, canonical and new texts, traditional and innovative critical perspectives. The book concludes with four recent interviews with influential practitioners about the meaning and future of theatre in South Africa: Athol Fugard, Fatima Dike, Reza de Wet, and Janet Suzman.
目次
Acknowledgements. List of Plates. Marcia BLUMBERG and Dennis WALDER: Introduction. KEYNOTE ADDRESS. Ian STEADMAN: Race, Nationalism and Theatre Reconsidered. PHYSICAL THEATRE. Yvonne BANNING: Speaking Silences: Images of Cultural Difference and Gender in Fleishman and Reznek's Medea. David ALCOCK: Somatic Emphasis in South African Theatre: Intervention in the Body Politic. EARLY FUGARD. Errol DURBACH: 'No time for apartheid': Dancing Free of the System in Athol Fugard's Boesman and Lena. Robert LEYSHON: Laughing at the Beginning and Listening at the End: Performing Fugard in the Caribbean. VALLEY SONG AND BEYOND. Kristina STANLEY: Fugard's Theatre of Intervention and Reconciliation: Black and White Aesthetics in Valley Song. Toby SILVERMAN ZINMAN: Valley Song: Fugard Plays It Again. Dennis WALDER: Questions from a White Man Who Listens: The Voices of Valley Song. Jeanne COLLERAN: Lessons for A Fair Country. PERFORMING RACE, GENDER, AND SEXUALITY. Anne FUCHS: The Body of Change and the Changing Body in the Plays of Junction Avenue Theatre Company. Marcia BLUMBERG: Revaluing Women's Storytelling in South African Theatre. Michael ARTHUR: Gay Theatres in South Africa: Peter Hayes, Pogiso Mogwere, and Jay Pather. THEATRE IN/AND EDUCATION. Michael CARKLIN: New Challenges for Theatre in a Reformed System of Education in South Africa. Hazel BARNES: Theatre for Reconciliation: Analysis of a Production of Desire in a South African Drama Studies Department. Bernth LINDFORS: The Rise and Fall of Mbongeni Ngema: The AIDS Play. THEATRE FESTIVALS. Annette COMBRINK: 'The arts festival as healing force' (Athol Fugard): The Role of the Two Major Arts Festivals in a Resurgence of South African Drama. Eckhard BREITINGER: A German Presence at the National Arts Festival: Faustus in Africa and The Good Woman of Sharkville. INTERVIEWS. Works Cited. Contributors. Index.
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