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dc.contributor.advisorMuller, F. R.
dc.contributor.authorVan Deventer née Greyling, Maria Aletta
dc.date.accessioned2018-01-22T07:06:17Z
dc.date.available2018-01-22T07:06:17Z
dc.date.issued1999-01
dc.identifier.urihttp://hdl.handle.net/11660/7650
dc.description.abstractEnglish: A study of comedy reveals its variety and scope, its subjective nature, how we are able to see in it a reflection of life and customs, and how comedy is able to evoke empathy for characters through our laughter of recognition. South Africa's stormy political background is reflected in Slabolepszy's dramas, from the turbulent apartheid years of the 1980s onwards, (for example, in plays such as Saturday Night at the Palace, Packing for Perth I, Sidewalking, R.S.A, Boo to the Moon, Packing for Perth II and Smallholding) through the early 1990s with their uncertainties and turnover of leadership, until full democratization in 1994, and the eventual attempts at forgiveness and reconciliation until the present. Although Slabolepszy's plays are not exclusively political, like some of Fugard's, do not rally people to action as Mda's and the township plays do, or are not as corrosively satiric as most of Pieter-Dirk Uys's work, he provides insight into the South African situation and, through a variety of comic techniques, is able to evoke empathetic understanding for his characters in a South African setting. The sensitive humour and wit in Braait Laaities (1991) evoke empathy for a conservative, white woman, and a streetwise, black male, who are able to communicate on mutual ground, despite a stormy political South African background and personal sorrow. Mooi Street Moves (1992) is a particularly poignant play in which Slabolepszy through a variety of comic devices evokes empathy for a black and a white man who succeed in reconciling their differences, despite their conflicting politics and cultural heritage. His plays also reflect comedy's tragic alter ego, especially in the personal angst of characters in plays such as The Return of Elvis du Pisanie (1992) and Pale Natives (1994). In Fordsburg's Finest (1998), a black woman who has been in exile and returns to a democratic South Africa to redefine her roots after an interim period of almost forty years, becomes the focus of his concern. The play transcends the limitations of politics, race, sex and skin colour. Slabolepszy evokes empathy for present-day South Africans through various comic techniques, and demonstrates with perceptive insight that forgiveness between people is indeed possible. Slabolepszy experiments with various comic devices and techniques, plus varying degrees of comedy, ranging from bitter satire in his earlier plays, for example, Saturday Night at the Palace (1982), to an overall more light-hearted, even farcical approach in his other plays; for example, Under the Oaks (1984), Miles from Machadodorp (1992), Victoria Almost Falls (1994), Tickle to Fine Leg (1995) and Heel Against the Head (1995). Through a comic approach which alternates between dark and light-hearted humour, and low comedy, Slabolepszy is able to touch on contentious issues, for example, white male bonding in Pale Natives (1994). Absurdist elements are introduced in Travelling Shots and Smallholding, which demonstrate his versatility and ability to implement various comic techniques with success. Like his contemporaries, he shows his use of English to function as a "linguafranca ", but uses a distinctly South African "patois", mixed with English, Afrikaans and ZululXhosa expressions and South African slang, as a comic device to evoke both laughter and empathy, and to make his plays more authentic. Slabolepszy's appeal is both national and international, and he is one of South Africa's most popular playwrights. He extends the boundaries of his work by providing peculiar insight into the South African situation, as well as the human psyche. His plays are accessible to people from all walks of life, notwithstanding race, creed or colour, and through humour, he is able to evoke empathy for all individuals within a South African socio-political context. It is clear that Slabolepszy in his plays has been able to realise comedy's potential to evoke empathy for individuals in a South African setting through a variety of comic techniques.en_ZA
dc.description.abstractAfrikaans: 'n Studie van komedie toon die verskeidenheid, omvang en subjektiewe aard daarvan, en hoe komedie 'n spiëel van lewenswyse en gebruike kan wees, asook hoe dit empatie vir karakters kan ontlok deur ons gelag van herkenning. Suid-Afrika se stormagtige politieke agtergrond word weerspiëel in Slabolepszy se dramas, vanaf die onstuimige apartheid jare van die 1980s, (byvoorbeeld, in toneelstukke soos Saturday Night at the Palace, Packing fOT Perth 1, Sidewalking, R.S.A., Boo to the Moon, Packing for Perth 11 en Smallholding) deur die vroeë 1990s met al die onsekerheid en oorgawe van leierskap, tot volle demokrasie in 1994, en die uiteindelike strewe na vergifuis en rekonsiliasie tot die hede. Alhoewel Slabolepszy se toneelstukke nie eksklusief polities is, soos sommige van Fugard se werke, nie mense aanhits tot aksie soos die van Mda en die "township" dramas nie; en nie so kwetsend satiries is soos die werk van Pieter- DirkUys nie; gee hy insig in die Suid-Afrikaanse situasie. Deur 'n verskeidenheid van komiese tegnieke maak hy empatiese begrip moontlik vir sy karakters in 'n Suid-Afrikaanse milieu. Die sensitiewe humor en gevatheid in Braait Laaities (1991) ontlok empatie vir 'n konserwatiewe, wit vrou, en 'n wêreldwyse, swart man, vir wie dit moontlik is om met wedersydse begrip te kommunikeer, ten spyte van 'n stormagtige Suid-Afrikaanse politieke verlede en persoonlike hartseer. Mooi Street Moves (1992) is 'n besonder aangrypende toneelstuk waarin Slabolepszy deur middel van 'n verskeidenheid komiese middele, empatie ontlok vir '0 swart en 'n wit man wat daarin slaag om, ten spyte van 'n konflikterende politieke siening en kultuur, hul verskille by te lê. Sy dramas weerspieëlook komedie se tragiese alter ego, veral met betrekking tot die persoonlike angst in dramas soos The Return of Elvis du Pisanie (1992) en Pale Natives (1994). In Fordsburg's Finest (1998), word 'n swart vrou wat as uitgewekene terugkeer na 'n demokratiese Suid-Afrika om haar oorsprong te herontdek, die fokus van sy belangstelling. Die drama styg uit bo die beperkings van politiek, ras, geslag en velkleur. Slabolepszy ontlok empatie vir die hedendaagse Suid- Afrikaners deur middel van verskeie komiese tegnieke, en demonstreer met fyn waarneming, dat vergifenis tussen mense wel moontlik is. Slabolepszy eksperimenteer met verskeie komiese oogmerke en tegnieke in sy dramas, plus uiteenlopende vlakke van komedie, wat varieer van bitter satire in sy vroeëre werke, byvoorbeeld, Saturday Night at the Palace (1982), tot 'n oor die algemeen meer lighartige, selfs klugtige benadering in sy ander werke, byvoorbeeld, Under the Oaks (1984), Milesfrom Machadodorp (1992), Victoria Almost Falls (1994), Tickle to Fine Leg (1995) en Heel Against the Head (1995). Deur 'n komiese aanslag wat varieer tussen donker en lighartige humor, en klugspel, is Slabolepszy in staat om kontensieuse strydpunte aan te raak. Elemente van die absurde word ook in sy werke aangewend, veral in Travelling Shots en Smallholding, wat daarin slaag om sy veelsydigheid as dramaturg en vermoë om verskeie komiese tegnieke met sukses aan te wend, te illustreer. Soos sy tydgenote, toon hy sy gebruik van Engels om as "lingua franca" te funksioneer, maar gebruik 'n duidelik waarneembare "patois", gemeng met Engels, Afrikaans en Zulu/Xhosa uitdrukkings en Suid-Afrikaanse sleng as komiese tegniek, om beide te vermaak en empatie te ontlok, en om sy dramas meer outentiek te maak. Slabolepszy se aantrekkingskrag is beide nasional en internasionaal, en hy is een van Suid-Afrika se mees gewilde dramaturge. Hy verbreed die grense van sy werk omdat hy besondere insig verleen vir die Suid-Afrikaanse situasie sowel as die menslike psige. Hy slaag daarin om sy werke toeganklik te maak vir mense van alle vlakke van die samelewing, nieteenstaande ras, kleur of geloofsoortuiging, en deur humor slaag hy daarin om empatie te ontlok by alle individue binne 'n Suid- Afrikaanse sosio-politiese konteks. Dit is duidelik dat Slabolepszy in sy dramas daarin slaag om komedie se potensiaal te verwesenlik om empatie vir individue binne 'n Suid-Afrikaanse samelewing te ontlok, deur gebruikmaking van'n verskeidenheid van komiese tegnieke.af
dc.description.sponsorshipCentre for Science Developmenten_ZA
dc.language.isoenen_ZA
dc.publisherUniversity of the Free Stateen_ZA
dc.subjectSlabolepszy, Paul, 1948- -- Criticism and interpretationen_ZA
dc.subjectSouth African drama (English) -- 20th century -- History and criticismen_ZA
dc.subjectComic, The, in literatureen_ZA
dc.subjectThesis (Ph.D. (English))--University of the Free State, 1999en_ZA
dc.titlePaul Slabolepszy's evocation of empathy in a South African setting: a realisation of the potential of comic techniqueen_ZA
dc.typeThesisen_ZA
dc.rights.holderUniversity of the Free Stateen_ZA


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