Doctoral Degrees (Drama and Theatre Arts)
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Item Open Access Reimagining desire and identity in the title characters of Hamlet and Richard III in a South African context(University of the Free State, 2023) Heydenrych, Mattheus; van Jaarsveld, AntheaDuring my Master’s studies in Theatre Directing at East 15 Acting School, London, a question regularly asked by my lecturer, Tony Clark, was: ‘If you were to direct a Shakespeare play now, why would you do it? What would the play say today?’ I started asking myself, ‘If I were to transpose a Shakespeare play into a modern context, what new perspectives and interpretations could be arrived at if I were to read it from a queer perspective? How would that influence the identity and desires of the characters and the interpretation thereof?’ The study aimed to examine what would happen if the sexuality of the characters Richard and Hamlet were changed by transposing 𝘏𝘢𝘮𝘭𝘦𝘵 and 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐, into queer adaptations and how that would change the identity and desires of the title characters in the new adaptations. To do this, the study identified ‘unspoken or unconscious lesbian, gay, or queer presence’, or what will be referred to as queer cues, utilising the coding process of Constructivist-Grounded Theory in Hamlet and Richard III by William Shakespeare. Queer Theory has significantly impacted literary analysis. It has broadened the field’s focus beyond conventional binary conceptions of gender and sexuality. Using Queer Theory, one can study how gender and sexuality are disrupted and challenged in texts and how these categories are created and performed through language and narrative. Similarities exist between Queer Theory and Lesbian, Gay, and Queer Criticism (LGQC) as they both examine gender and sexuality. However, their approaches and points of focus are slightly different. While LGQC focuses on analysing particular cultural representations, Queer Theory deconstructs binary categories. One of the fundamental ideas of LGQC is the quest for textual evidence, or rather cues, in the literary interpretation of texts. In most cases, these cues are blatant homoerotic imagery and same-sex interactions, but sometimes these cues are subtle and create a homoerotic atmosphere in a heterosexual work. Several examples of subtle “unspoken or unconscious” cues exist, but this study predominantly focuses on 𝘩𝘰𝘮𝘰𝘴𝘰𝘤𝘪𝘢𝘭 𝘣𝘰𝘯𝘥𝘪𝘯𝘨. In Tyson (2006), 𝘩𝘰𝘮𝘰𝘴𝘰𝘤𝘪𝘢𝘭 𝘣𝘰𝘯𝘥𝘪𝘯𝘨 is explained as portraying a strong emotional bond between characters of the same sex. The study aimed to examine which 𝘲𝘶𝘦𝘦𝘳 𝘤𝘶𝘦𝘴 could be identified in the scripts through a 𝘲𝘶𝘦𝘦𝘳 𝘳𝘦𝘢𝘥𝘪𝘯𝘨 and how that influenced the transposition of the scripts into new queer adaptations. The focus of this study was mainly on 𝘨𝘢𝘺 𝘴𝘦𝘯𝘴𝘪𝘣𝘪𝘭𝘪𝘵𝘺. A preliminary analysis made it clear that after examining the characters’ interactions with each other, there were subtle queer cues evident in 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐 and 𝘏𝘢𝘮𝘭𝘦𝘵. Other events and interactions were then analysed to see if they supported these cues. In my opinion, the results pointed to elements of 𝘩𝘰𝘮𝘰𝘴𝘰𝘤𝘪𝘢𝘭 𝘣𝘰𝘯𝘥𝘪𝘯𝘨 between the relevant characters, which I interpreted as indications that Richard and Hamlet were gay men. As mentioned above, the study applied the coding process of Constructivist-Grounded Theory. The first step is Initial Coding, followed by Focussed Coding, where categories are refined, and then finally, theory development. The Initial Coding process and the process of 𝘲𝘶𝘦𝘦𝘳 𝘳𝘦𝘢𝘥𝘪𝘯𝘨 identified 𝘲𝘶𝘦𝘦𝘳 𝘤𝘶𝘦𝘴 in the scripts of 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐 and 𝘏𝘢𝘮𝘭𝘦𝘵. For these 𝘲𝘶𝘦𝘦𝘳 𝘤𝘶𝘦𝘴 to be identified, the study focussed on the concept of 𝘩𝘰𝘮𝘰𝘴𝘰𝘤𝘪𝘢𝘭 𝘣𝘰𝘯𝘥𝘪𝘯𝘨 and queer interpretation, seeing that the main focus of this study’s inquiry was the relationship between Richard and Tyrrel, and Hamlet and Horatio. The study found that the scripts indeed supported a queer interpretation of 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐 and 𝘏𝘢𝘮𝘭𝘦𝘵. During the Focused Coding process, other moments and events in the scripts were identified that can now be interpreted from a queer perspective. During the memo-writing process of Focused Coding, the characters of Tyrrel (in 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐) and Horatio (in 𝘏𝘢𝘮𝘭𝘦𝘵) were examined to establish how their interactions supported a queer interpretation. The last part of the coding process (Memo-Writing) was transposing 𝘏𝘢𝘮𝘭𝘦𝘵 and 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐 into queer adaptations, where Richard and Tyrrel and Hamlet and Horatio were placed in same-sex relationships. Nevertheless, when reading the queer adaptations, the study found that the queer interpretations of these plays could still not ‘present’ themselves in the scripts alone. A new question emerged: ‘How to present the 𝘲𝘶𝘦𝘦𝘳 𝘤𝘶𝘦𝘴 in the new queer adaptations of 𝘏𝘢𝘮𝘭𝘦𝘵 and 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐?’ The study, therefore, included 𝘏𝘢𝘮𝘭𝘦𝘵 and 𝘙𝘪𝘤𝘩𝘢𝘳𝘥 𝘐𝘐𝘐, where it was found that the transposition to the stage was necessary to bring to life the ‘queer interpretations’ of the title characters. Clearly, the study needed to include actors’ performances to determine how the characters’ sexuality influenced their identities and desires. The actor’s interpretation and delivery of the lines, their gestures, and actions brought the queer interpretation of the scripts to the forefront.Item Open Access 'n Kritiese ondersoek na die stand van Afrikaanse professionele jeugteater in Suid-Afrika na 1994(University of the Free State, 2007) Venter, Pieter Andries; Luwes, N. J.𝑬𝒏𝒈𝒍𝒊𝒔𝒉 Through exploratory and descriptive research into the importance and incidence of Youth Theatre as genre, this study revealed that the changing political situation after 1994, the White paper on Arts, Culture and Heritage (1994) and the disbanding of the Arts Councils had a negative influence on the staging and maintaining of new works for youth theatre audiences in Afrikaans. Thus, there is evidence of a gap in theatre presentations for the age group 13 to 18 years. This is true in particular, of the range between Child and Adult Theatre. Youth Theatre (“Jeugteater”) seems an appropriate term for this type of theatre aimed at youthful audiences and performed by professional actors in contrast with Teenage Theatre (“Tienertoneel”) which is theatre presented by youthful actors for a youthful audience. The collated findings of a literature review, questionnaires, interviews, practical implementation and comparison with international trends, prove that a definite gap exists in the staging of Afrikaans Youth Theatre as part of Mainstream productions for entertainment, alongside the need for Community- and Educational Theatre. The study finds that themes addressed before 1994 are more national-minded and romanticised, compared with the themes after 1994 that are more relevant and realistic in nature and also less inhibited. The theatre practitioner, working in this genre, who has a good command of the complexities of adolescence as well as the external factors which influence the adolescent, has the ability to make the right choice regarding theme, nature and style of presentation as well as content of Youth Theatre productions. Only with this in mind can Youth Theatre productions appeal to the taste and entertainment needs of the youth. The study also demonstrates that the staging of productions that integrate dance, music, drama and digital media, appeal more to the adolescent audience than conventional drama productions. In addition, the study finds that financial support from the formal sector; the National Arts Council (on a project-to-project basis); the National Lottery; as well as Provincial Arts and Culture Councils have practical implications for this industry when it comes to long-term planning for theatre practitioners and there theatre projects. Financial constraints and extended waiting periods for the outcome of applications, as well as the fact that projects have to be completed before the next applications can be handed in, inhibit and constrain the financial viability of permanent Companies who wish to pursue Youth Theatre as Entertainment Theatre alone. School tours with Educational and Community Theatre programs very often constitute the only other source of income for professional Youth Theatre Companies. Funders such as the NAC and others lack an understanding of the functioning of the theatre industry and are therefore unable to adjust funding procedure to ensure the long-term viability of this genre. In conclusion, this study finds that financially supported, quality, Youth Theatre can prevent the overall loss of audiences in the range between Child and Adult Theatre. This can only be achieved if collaboration exists between the different levels of government such as the Departments of Education, Arts and Culture, funders and professional theatre practitioners. Lastly, it is of the utmost importance for Youth Theatre that theatre on the whole is given higher priority in the policies of the Performing Arts and Education. Ample manpower and infrastructure does exist to stage Afrikaans Youth Theatre of a high standard. Lastly, it appears that the policy on theatre, and specifically Youth Theatre of the Provincial Arts Councils before the implementation of Playhouses, could be fruitfully revisited.Item Open Access Pieter Fourie (1940-) se bydrae as Afrikaanse dramaturg en kunstebestuurder: 1965-2010(University of the Free State, 2012-01) Luwes, Nicolaas Johannes; Van Coller, H. P.English: In this descriptive study, it was found that Pieter Fourie’s development as playwright cannot be separated from the changing socio-political, religious dogma and economic circumstances in South Africa during his childhood years, as a student, and as a creative theatre artist. The influence of fellow artists, lecturers and philosophers, and the situation and development in the world of the theatre to which he was exposed as an artist, including the influence of it on his development as an individual and writer, his involvement as professional theatre artist from 1940 to 2011, as producer and actor (1965-2005), as arts administrator at CAPAB (1957- 1986) and KKNK (1994-1999) are examined chronologically. The research problem, methodology and research design and ethical consideration are explained in short in this study. The playwright’s role as folk theatre and informal historian within time bound, geographical and demographical systems is clarified. How these systems are reflected in the playwright’s work is investigated. In addition, the development and functioning of internal theatre systems within which the theatre artist finds himself is explained. The influence of external systems, such as politics, religion, censorship, etc. on his life as an individual, artist and theatre administrator, is discussed. In this biographical description, Fourie’s personal and artistic career is discussed chronologically. The main corpus of the study undertakes a critical investigation of all his published plays, as well as the professional staging of these plays by several theatre institutions. Fourie’s career, initially as folk theatre writer in the realistic style and later as highly respected playwright, whose experimentation in Afrikaans drama is seen as shifting boundaries, is discussed in detail utilising literary publications, reviews and personal interviews with Fourie and other roleplayers. The study concludes that Fourie was exceptionally successful in writing accessible folk theatre, despite how innovative his work was with regards to style and content. In retrospect, his work was often predictive in nature or he fearlessly placed on stage the true political and social circumstances in the country. His work clearly can be seen as that of an informal historian. Finally, the study mentions the numerous accolades he received, with the highlight being the Hertzog Prize for Drama and the Honorary Doctorate (D.Litt.) in Drama and Theatre Arts from the University of the Free State.