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dc.contributor.advisorLuwe, N. J.
dc.contributor.authorVan Niekerk, Daniel Erasmus
dc.date.accessioned2019-08-15T06:23:08Z
dc.date.available2019-08-15T06:23:08Z
dc.date.issued1997-05
dc.identifier.urihttp://hdl.handle.net/11660/10292
dc.description.abstractEnglish: Chapter 1 is an explanation of the complete process that was followed in this study: A qualitative study to determine audience reception of symbolism in Tennessee Williams's A Streetcar Named Desire. The motivation, exposition, aims and structure of the study are discussed in this chapter. In Chapter 2 semiotics and reception theory are analysed. The shortcomings of reception theory in terms of performance are shown, and the complexity of the semiotic process that includes the process of giving meaning through a performance in the theatre are analysed. This study is extremely complex because many different factors play a role in terms of message encodement during a performance, that is then communicated to the audience. Chapter 3 investigates the various definitions of the term symbol. Reference is made of the symbolist movement and distinctions are drawn amongst the three basic semiotic signs in the theatre, namely the icon, the index and the symbol. A brief investigation is carried out to look at the difference between literary and theatre symbolism. Mention is also made of the multi-faceted nature of a symbol which imbues the symbol with special significance. An actual definition of the term symbol is very difficult to arrive at because of the complexity of meaning that can be attributed to the symbol. The literary investigation of A Streetcar Named Desire is done in Chapter 4. The literary symbols that are apparent in the drama text like theme(s), structure, dialogue, action and stage directions are analysed in this chapter, as well as the symbolic actions and roles of most characters in the play. Chapter 5 presents a report from the director, looking at some of the key moments in the drama. Particular attention is paid to the role of the director in the encoding of symbols in the play. Chapter 6 deals with qualitative research methods that are discussed in terms of theory and is then used in a practical application to matters such as data collection, interpretation and analysis. The extent to which the different focus groups perceived symbols in certain aspects of the performance, such as lighting, decor, sound, costumes, colour, composition, and props, is also evaluated. It is evident from the research that the visual symbols played a more significant role than the auditory symbols during the performance. Factors such as age and theatre experience of the recipients/audience did not necessarily make for better reception of symbols in this specific performance. Chapter 7 concludes the process and interprets the qualitative research results. It can be concluded that the play, A Streetcar Named Desire, lends itself to the relatively successful perception of symbolic meaning during performance. The complexity of the communication process during a performance of the text in a theatre is examined in this study. It is hoped that this dissertation can serve as a practical point of departure for further investigation and research into this complex and challenging field.en_ZA
dc.description.abstractAfrikaans: Hoofstuk 1 is 'n uiteensetting van die volledige proses wat in die studie gevolg is: 'n Kwalitatiewe evaluasie van 'n gehoor se resepsie met betrekking tot simboliek tydens 'n toneelopvoering van Tennessee Williams se A Streetcar Named Desire. Die motivering, uiteensetting, doelstellings en strukturering van die studie is in die hoofstuk onder die loep geneem. In hoofstuk 2 is daar gekyk na die semiotiek en resepsieteorie. Die tekortkominge van die resepsieteorie vir die toneelopvoering is uitgewys, en ook die kompleksiteit van die semiotiese proses wat betekenisvergemeenskapliking tydens 'n toneelopvoering insluit, is ondersoek, omdat soveel faktore 'n bydrae lewer in terme van die enkodering van die boodskap wat aan die gehoor/toeskouer gekommunikeer word. In hoofstuk 3 is die verskillende definisies van die term simbool beskou. Daar is verwys na die simbolistiese beweging en onderskeid is getref tussen die drie basiese semiotiese tekens in die teater, naamlik die ikoon, die indeks en die simbool. 'n Bondige ondersoek na die verskil tussen literêre en teatersimboliek is ook onderneem. Daar is bevind dat die simbool se meer- ofveelvlakkigheid juis aan die simbool sy besondere betekenis verleen. 'n Juiste definisie van die term simbool is as gevolg van die kompleksiteit van betekenis wat aan die simbool geheg kan word, moeilik om te verwoord. Die literêre ontleding van A Streetcar Named Desire is in hoofstuk 4 uitgevoer. Die literêre simbole soos wat hulle manifesteer in aspekte van die dramateks, soos onder andere die tema(s), struktuur, dialoog, handeling en didaskalia, is hier ondersoek. Ook is daar indringend na die simboliese handeling en rol van bykans elke karakter in die drama gekyk. In hoofstuk 5 is 'n regieverslag aangebied wat enkele van die momente in die drama ontleed en belig. Aandag is hier geskenk aan die regisseur se rol in die enkodering van simboliek in die drama. Hoofstuk 6 behels die kwalitatiewe navorsingsmetodes wat eers teoreties bespreek en daarna prakties toegepas is in terme van die data-insameling, interpretasie en analise. Die mate waarin die verskillende fokusgroepe die simbole in die spesifieke aspekte van die toneelopvoering geresepteer het, al dan nie, is ook geëvalueer. Dit was opmerklik uit hierdie hoofstuk dat die visuele simbole tydens die toneelopvoering 'n sterker rol gespeel het as die ouditiewe simbole. Ook is bevind dat faktore soos ouderdom en teaterervaring van die respondente nie noodwendig 'n beter of meer suksesvolle resepsie of dekodering van simbole in hierdie spesifieke toneelopvoering aangedui het nie. Hoofstuk 7 vorm die samevatting en gevolgtrekking van hierdie proses en resultate, en dui aan dat simbole wel relatief suksesvol deur 'n gehoor geresepteer kan word tydens die toneelopvoering van Tennessee Williams se A Streetcar Named Desire. Die kompleksiteit van die oordragingsproses van die boodskap, oftewel die kommunikasieproses tydens 'n toneelopvoering, is besonder sterk in die studie beklemtoon. Hierdie studie kan dien as a praktiese vertrekpunt vir verdere noodsaaklike navorsing in hierdie komplekse en uitdagende veld.en_ZA
dc.description.sponsorshipSentrum vir Wetenskapontwikkelingen_ZA
dc.language.isoafen_ZA
dc.publisherUniversity of the Free Stateen_ZA
dc.subjectDissertation (M.A. (Drama and Theatre Studies))--University of the Free State, 1997en_ZA
dc.subjectWilliams, Tennessee, 1911-1983. Streetcar named Desireen_ZA
dc.subjectDrama -- 20th century -- History and criticismen_ZA
dc.subjectTheater audiencesen_ZA
dc.subjectTheater -- Semioticsen_ZA
dc.subjectSymbolism in literatureen_ZA
dc.title'n Kwalitatiewe evaluasie van 'n gehoor se resepsie met betrekking tot simboliek tydens 'n toneelopvoering van Tennessee Williams se A Streetcar Named Desireen_ZA
dc.typeDissertationen_ZA
dc.rights.holderUniversity of the Free Stateen_ZA


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