Masters Degrees (Drama and Theatre Arts)
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Item Open Access Identifying and classifying different approaches to acting in selected devised theatre productions(University of the Free State, 2023) Nortier, Christelle; van Jaarsveld, Anthea; Cloete, DeBeer CarelFrom a ‘postmodern theatre’¹ perspective, the tendency among most when creating theatre on stage is often more toward devised theatre than a conventional theatre product. This study will focus on identifying and classifying different approaches to acting in selected devised theatre productions. This research’s primary point of departure was to determine the autogenous characteristics of each method of acting and to discover which acting style/styles work best or are most applicable to the devised theatre. ‘Conventional theatre’ follows a set number of acts. Generally, it adheres to Aristotle's theory of plot structure from the fourth century BC (335 BC), with actors reading dialogue on a thrust or proscenium stage. The genre and style of where the text originated are predetermined or suggested in the playwright's mind. Therefore, the director, as well as the actors, have a blueprint of what the play is intended to look like and how it played out during the process of creation by the playwright. This intent is reflected in various ways. Firstly, it is reflected in the dramatist's notes on acting, writing, characters, costumes, locality, stage lighting, and stage directions (Oddey, 1996:16). Horace approaches poetry from a practical standpoint instead of Aristotle's theoretical approach. Around 19 BC, ‘Ars Poetica’ of Horace is considered a core component of rhetoric literacy through his use of satires, epistles, and odes. ‘Ars Poetica’ attempts to create a sense of probability and coherence regarding artistic representation, including diction, dramatic characterisation, meter, poetic inventiveness, and the intended impact (Hajdu, 2014:28-42). In 1863, Freytag's technique allowed studies to visually examine a narrative and acknowledge the plot drama, similar to Aristotle's Poetics (335 BC). His plot is divided into five sections: exposition, rising action, climax, falling action, and denouement. (Hajdu, 2014:28-42). In contrast to conventional theatre, ‘devised theatre’ (frequently labelled as ‘collective theatre’) is an approach to theatre-making in which the text or (if it is a predominantly physical theatre-based work) performance outcome develops from collaboration, often through a performing group's improvisatory work (Oddey, 1996:1-4). The study of devised theatre and the exploration of various acting approaches can be linked by examining how postmodernism, a movement that questions established norms and cultural values, has influenced the evolution of theatre practices. Devised theatre, emphasising collaborative and improvisatory work, embodies the postmodern ethos of deconstructing and reconstructing traditional theatrical elements, including acting techniques. This intersection between postmodernism and devised theatre highlights the dynamic nature of contemporary theatre-making, where a diverse range of acting methods, from Stanislavski's realism to Brecht's epic theatre, can be adapted and integrated into this innovative and collaborative approach to creating performances. The approaches to acting, which will form the basis of the theoretical conceptualisation of this study, are based on the writings of Konstantin Stanislavski (1863-1938), Sanford Meisner (1905-1997), and Michel Saint-Denis (1897-1971) on classical acting, (between the late 1800s and early 1900s), David Mamet (1947) and William H. Macy (1950-1984) on practical aesthetics, Lee Strasberg (1901-1982) on method acting and Bertolt Brecht (1898-1956), specifically on the Brechtian method (1964). Three analytical case studies will be undertaken to analyse the applied acting methods to construct a reasonably mapped process that suits devised theatre best. The study contributes to the academic discussions concerning devised theatre and approaches to acting methods. The study also constructs an analytical framework for case study analysis, which could be employed by future studies that embark on similar studies or practitioners who aim to produce devised theatre productions within a contemporary, postmodern context. The research aims to identify and classify different approaches to acting in selected devised theatre productions. This study's fundamental starting point is to identify each acting technique's autogenous traits and ascertain which acting style(s) or styles operate best in or are most appropriate for improvised theatre. The study believes that devised theatre uses a combination of different acting approaches. By conducting three analytical case studies, the study proposes to evaluate the hypothesis to arrive at a conclusion either in favour or opposed to this statement.Item Open Access 'n Kwalitatiewe evaluasie van 'n gehoor se resepsie met betrekking tot simboliek tydens 'n toneelopvoering van Tennessee Williams se A Streetcar Named Desire(University of the Free State, 1997) Van Niekerk, Daniel Erasmus; Luwe, N. J.𝑬𝒏𝒈𝒍𝒊𝒔𝒉 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.Item Open Access A proposed model for theatre-for-development in South Africa: a critical study(University of the Free State, 1998-11) De Beer, Welma; Luwes, N. J.; Botes, L.English: The research for this dissertation was undertaken against the backdrop of prevailing conditions in South Africa. References were made to the socio-political and economic context of post-apartheid South Africa. The study set out to establish reasons why theatre-for-development is not used in the South African context and to formulate an integrated model for its use that is derived from successful international examples and methodologies. The background to development was provided by referring to different development paradigms: the modernisation paradigm, Marxism and neo-Marxism, and nee-populism, the basic needs approach, eco-development and human scale development as alternative methods for development. A definition of the concept 'development' was provided and the principles and concerns of development were pointed out. A conceptual framework of 'culture' was provided with specific reference to the relationships between culture, ritual and tradition. The aims and uses of theatre were pointed out and reasons were provided for its use in educational and development contexts. The history of theatre-for-development was provided and the use of theatre for education and development was elaborated on by referring to the work of Augusto BoaI. His concept of 'theatre of the oppressed' is of importance, and includes forum, invisible, image, culture, newspaper and legislative theatre. Examples were provided of the use of theatre in educational and development contexts in countries of the developing world. Specific characteristics of these theatre initiatives were identified that directly contributed to the formulation of the proposed model. Theatre-for-development was seen as a multidimensional phenomenon. The context in which creation takes place was considered in terms of the current socio-political context in South Africa, referring to basic needs; current problems in training and education; and attempts at reconstruction and development. The informal economic and the unofficial cultural contexts were considered. The historical legacies of the past and their impact on cultural development were pointed out. The collective and improvisational manner in which theatre-far-development is created and the functioning of its processes in practice were explained. The aims and functions of theatre-far-development were identified as functionality; analysis and criticism; mobilisation and conscientisation; inclusivity; educational; empowerment; and the creation of a sense of community. The characteristics of performances that are created as part of theatre-for-development processes were provided. Reference was made to theatre-for-development's multilingualism, the stereotypical characterisation that is often employed in performances, the collective and plurimedial style that is applied, as well as the use of oral and indigenous performance forms. The localised, unconventional and informal context within which theatre-fordevelopment takes place, was explained as one of its strengths. Audience involvement was typified as an aspect of theatre-far-development, and active involvement was contrasted to passive appreciation, and affective reaction to cognitive reaction. The effects of criticism and censorship were considered with specific reference to conventional canonised criticism and contextual criticism. In this regard, the recipient of the message was focused on by juxtaposing process against outcome orientation, and performance against literary orientation. The immediacy with which recipients evaluate the performance and the democratic collective as part of the process of appraisal were also touched upon. The dimensions of theatrefor- development were also considered in the light of the necessity to formulate effective criteria to measure the outcomes of theatre-for-development. The dissertation provided a practical model for the use of theatre-far-development by focusing on the places where development occurs, and the contribution of district-based fieldworkers as facilitators for development projects and practitioners of theatre-far-development. A methodology for the application of theatre-far-development techniques was proposed and potential problems in the implementation of such a model were identified. Concluding remarks included a summary of the research findings, conclusions drawn from the information contained in the dissertation, as well as the identification of areas for future research.Item Open Access All-dimension surround sound in the 3D film era(University of the Free State, 2015) Lu, Yue; Luwes, N. J.; Cloete, D. C.3D movies provided an improved immersion in terms of visual perception. But for the associate movie soundtracks, most of the 3D movies were still produced in the conventional format, such as 5.1 or 7.1 surround format. These conventional surround formats were all insufficient in height information of auditory, inaccuracy of spatial localization as well as lack of immediacy. Many sound professionals and auditory technology companies focused on realizing the audio-visual congruence of 3D movie. In this paper, I would introduce a new auditory concept: ADSS (All Dimensional Surround Sound). By reviewing the history of film sound, I would explore the forming process, theoretical basis, current application and the value of this three-dimensional surround format. With this research, I wanted to raise more filmmakers and film theorists’ awareness of the technological development of film sound and utilize it to make more and more blockbusters for the audience.Item Open Access 'n Teoretiese ondersoek na die arbitrêre aard van teaterkonvensies vir die analise van die vertoningsteks(University of the Free State, 2014-01) Strydom, Walter; Van Jaarsveld, AntheaAfrikaans: Die vervlietende, eenmalige teatervertoningsteks as produk van die teatermeduim bied uitdagings vir die akademiese analise daarvan. Teatersemiotiek se mislukking – weens sy fragmenterende, statiese en onvolledige aard – lei tot „n hernude ondersoek in die veld vir „n toepaslike benadering wat meer holistiese en akademies aanvaarbare analitiese praktyke te weeg sal bring. Die teoretiese studie ondersoek „n wetenskaplik gegronde, maar ook intuïtiewe metode vir die analise van die teatervertoningsteks op grond van die beperkinge wat die arbitrêre aard van konvensionele praktyke vir die teatergebeurtenis stel. Die voorgestelde multidissiplinêre benadering tot die analise van vertoningstekste, wat die analiseerder se intuïsie en identiteit in ag neem tesame met „n hernude aanwending van teatersemiotiek is moontlik haalbaar binne die kwalitatiewe veld. Hierdie insiggewende analitiese werkwyse kan prakties toegepas word om die doeltreffendheid daarvan te bepaal.Item Open Access Teaching dance as a means of intercultural reconciliation(University of the Free State, 2014) Manenye, Masedi Godfrey; Luwes, N. J.English: The research problem and purpose of this dissertation was, firstly, to investigate the apparent interracial tension and intercultural intolerance in South Africa. Secondly, the aim and objective were to explore dance as a nonverbal artistic teaching tool for intercultural and interracial reconciliation. Investigation of applicable literature in the field of study supported the theory that a devised dance theatre production would be a workable process to attain the aims of the study. The methodology applied was based on Process As Research (PAR). Student dancers from different racial, cultural and language groups, as well as different genders, were selected to create a dance project under the guidance of a choreographer. Before and during rehearsals and after performances, interviews were filmed and observations recorded. The study describes the processes followed for deciding on the theme and the organisational work plan. The practical implementation of the plan, rehearsal processes and completion of the devised theatre dance project are explained. Initial problematic issues and the ways and means the participants implemented to overcome them, are discussed. Teaching dance as a means of intercultural reconciliation 10 Collected data before, during and after the intervention, indicates how dance can bring about cultural understanding among people of different racial, traditional and cultural backgrounds in a devised theatre production. Research findings presented, illustrate that dance as nonverbal communication becomes an effective unifying language that can cross intercultural and interracial borders. Thus, the study concludes that dance can advocate to being an effective learning tool for intercultural reconciliation. It brings about respect and awareness, enabling people from different cultures to learn about the ‘others’. Nonverbal communication is thus seen as complementary to verbal communication in attaining that. Finally the study proposes that the world outside the theatre and the stage could also be seen as a ‘dance floor’ for all who are willing to dance into the future as reconciled nations.Item Open Access Die fundamentele grondbeginsels in die skepping van liggaamlike bewustheid vir die akteur(University of the Free State, 2014) Grové, Minette; Venter, P. A.; Luwes, N. J.English: Through an exploratory and descriptive study, this thesis investigates the fundamentals in creating bodily awareness for the actor. A lack of integrated knowledge, regarding the importance of the role of bodily awareness in actors‟ training and in using the body, has been identified. Various identified fundamentals are compared with the theory and techniques of Movement fundi, Feldenkrais, in order to determine the actor‟s focus areas in creating bodily awareness. In the literature review, Stanislavski‟s system of actor‟s training, and the application thereof by the actor, has been proposed as conceptual framework for the investigation. This study focuses on body as the actor‟s instrument and not on the other instruments, such as voice and speech. Fundamentals identified in this study, include: awareness of tension and relaxation; identifying and changing of habits/mannerisms; knowledge of the body and muscular composition; movement; observation; repetition; changing of thought processes and self-image; re-establishing the connection between thoughts and the body; improving spatial orientation; and co-ordination. The study indicates that the actor should focus on overcoming his own shortcomings and on choosing the relevant method that addresses his shortcomings. The practitioner‟s training and background, as well as the actor‟s objectives, interests and physical limitations, should be the basis when determining what to include in the actor‟s physical training. The study has also revealed that, although there are similarities in the methods on the fundamentals of bodily awareness, each theory is unique as regards methods of training and implementation. It has, however, been found that the methods studied can be integrated in training the actor. The shared goal of the Stanislavski, Alexander, Laban and Feldenkrais methods indeed is the improvement of an actor‟s bodily awareness, as well as the promotion of effective, motivated movements. Through movement the actor will become aware of the factors influencing bodily awareness and the body in general. It therefore also is through movement that the actor will get to know his body, and be able to make a deliberate choice to identify and eliminate the factors affecting the body negatively. Overall, it has been found that movement indeed is the medium through which bodily awareness is developed and advanced. Practical as well as theoretical knowledge has to be gained, as starting point, examining the composition of the body. This study has concluded that an actor should implement and practice the fundamentals for creating bodily awareness on a daily basis. It has also been concluded that there is no ideal method for creating bodily awareness, but that commitment and willingness to learn, as well as the on-going application of the fundamentals, will indeed result in the successful creation of bodily awareness.Item Open Access Die rol van die demoniese in Den spieghel der salicheit van Elckerlijc, Mariken van Nieumeghen en Sewe dae by die Silbersteins: 'n vergelykende studie(University of the Free State, 2014-07-18) Brümmer, Annebelle; Luwes, N. J.; Van Coller, H. P.English: The researcher looked at the effects of Roman rituals on the Christian faith. After thorough research, it appeared that the Roman influences did not get lost with the introduction of Christianity to the rest of Europe. The researcher went back to old rituals and superstitions and studied how drama (mime) developed from the ritual. However, it is clear that devilish swooning’s and demonic representations played a big role in the ritual. The researcher found that many beliefs were mixed with the Christian faith and later on were transferred into the Church. The demonic character played a big role in the representation of what is evil. Stage designers paid a lot of attention on the details of the demonic character and the hell, they wanted it to look as realistic as possible. The study found that the demonic character, Moenen, in the play Mariken van Nieumeghen, played a very prominent role. The researcher analysed another Medieval text, called Den Spieghel der salicheit van Elckerlijc, analyzed. What was very interesting is that both texts have elements that resemble the demonic characters of the artist Hiëronymus Bosch; as well as his representation of death. The researcher also drew similarities between the story of Den Spieghel der salicheit van Elckerlijc and Buddhist. During these studies, the researcher applied these Medieval elements to a South African sixties novel, Sewe Dae by die Silbersteins. The researcher studied the role gender plays in the portrayal of the evil characters found in the novel. Thorough analysis of the novel shows clear similarities between the portrayal of evil characters in the text and the representations of the demonic characters of the Middle Ages. Similarities between Hiëronymus Bosch's depiction of evil and how it was portrayed in the novel could be drawn.