Evolution of Theatre in South Africa: A Political and Cultural Journey
PRE -1994
Politically:
Between 1949 and 1953 the major apartheid acts
were passed in parliament.
-English speaking White South Africans
continued to look to Europe and America for
leadership in the arts. Theatre was middle class,
conservative and followed a tradition of
‘legitimate’ theatre. It remained distant from
issues relevant to all South Africans.
-written and performed by Afrikaans speaking
White South Africans
- representative of the Afrikaans people of South
Africa
- indigenous to South Africa
- White theatre organisations were government
subsidised
-During the 40’s and 50’s there was a continuing
interest in theatre and performance amongst the
oppressed classes
-Black Africans held the traditional preference for
verbal expression linked to music, dance and
dramatic action
-
syndicate of African artists was formed in the
mid 1940’s
-
government refused to grant any financial
support as long as the syndicate insisted on
performing to multi-racial audiences
-Due to police harassment they were forced to
disband in 1956.
-
This syndicate eventually became Union Artists.
-Their musical production of
King Kong
played to
multi-racial audiences
-
Most theatres at this time did not admit Black
people and this continued into the 1980’s
Politically:
1960 – Sharpville
1976 – The Soweto riots
-Theatre remained segregated according to race,
language and culture until the 1980’s
-Whilst there was a
number of white directed
productions with black casts for white audiences,
there were still no theatres within the townships.
-
Athol Fugard challenged the status quo by creating,
with Black intellectuals , founding a new theatre, The
Rehearsal Room
-1963-start of the Playwrights’ boycott and the
Performing Arts Councils were formed. (Napac,
Pact etc.)
-Rights to plays from Europe and America,
English playwrights were limited. Forced to
create new works.
- non-subsidised theatres were created e.g. The
Space Theatre and The Market Theatre
- audiences were multi-racial and this often led to
problems with the security police.
-
In terms of Afrikaans theatre the 60’s and 70’s
were termed ‘The Golden age’.
-young actors and writers working for a well-
funded state theatre
-
ended with the arrival of television and the
Soweto riots
- Urbanisation- greater spending power- led to
growth of drama in the townships
-
township plays of this time focused on township
reality
GIBSON KENTE
-
Most popular
during the 60’s and 70’s
-
He focussed on narrative, mime, movement,
vocal dynamics, music and dance which were
found in oral performance
MBONGENI NGEMA
- was strongly influenced by Kente
-
musical successes with productions such as
Sarafina and Magic at 4am in the 1980’s
-
Growing mood of resistance, increase in
oppressed class involvement in theatre
-
Theatre of this time aimed to create a sense of
unity amongst Black people, to help them
identify with their cause
-
Theme of resistance emerged strongly
-
Increase in indigenous theatre but indifference
from government and commercial theater
-
Political expression was met with censorship
and banning
-
1976 broadcast television started- had huge impact on
theatre and cinema
-
1977 government lifted the ban on multi-racial theatre
companies and abolished segregation in theatre
-
1980 saw the creation of Simon Ngema and Percy
Mtwa of
Woza Albert
-
Dynamic and physical theatre style influenced by
Grotowski- captured expression of poverty and
oppression
-
Pieter Dirk Uys was a popular satirist during this
time. He challenged the state policies using humour.
Generally his shows were not scripted, which made it
difficult for the security police to close them down
1.
Workshop Theatre
2.
Protest Theatre
3.
Workers Theatre
4.
Community Theatre
5.
Educational Theatre
6.
Satirical Revue
The historical development of theatre in South Africa reflects the country's tumultuous political landscape and societal divisions. From the imposition of apartheid laws in the 1940s to the resistance and creativity of marginalized artists in the face of oppression, the evolution of theatre demonstrates a complex interplay of race, culture, and activism. The struggle for inclusive and diverse theatre spaces continues to shape the performing arts scene in South Africa.
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Presentation Transcript
Politically: Between 1949 and 1953 the major apartheid acts were passed in parliament. -English speaking White South Africans continued to look to Europe and America for leadership in the arts. Theatre was middle class, conservative and followed a tradition of legitimate theatre. It remained distant from issues relevant to all South Africans.
-written and performed by Afrikaans speaking White South Africans - representative of the Afrikaans people of South Africa - indigenous to South Africa - White theatre organisations were government subsidised
-During the 40s and 50s there was a continuing interest in theatre and performance amongst the oppressed classes -Black Africans held the traditional preference for verbal expression linked to music, dance and dramatic action -syndicate of African artists was formed in the mid 1940 s -government refused to grant any financial support as long as the syndicate insisted on performing to multi-racial audiences
-Due to police harassment they were forced to disband in 1956. -This syndicate eventually became Union Artists. -Their musical production of King Kong played to multi-racial audiences -Most theatres at this time did not admit Black people and this continued into the 1980 s
Politically: 1960 Sharpville 1976 The Soweto riots -Theatre remained segregated according to race, language and culture until the 1980 s -Whilst there was a number of white directed productions with black casts for white audiences, there were still no theatres within the townships. - Athol Fugard challenged the status quo by creating, with Black intellectuals , founding a new theatre, The Rehearsal Room
-1963-start of the Playwrights boycott and the Performing Arts Councils were formed. (Napac, Pact etc.) -Rights to plays from Europe and America, English playwrights were limited. Forced to create new works. - non-subsidised theatres were created e.g. The Space Theatre and The Market Theatre - audiences were multi-racial and this often led to problems with the security police.
-In terms of Afrikaans theatre the 60s and 70s were termed The Golden age . -young actors and writers working for a well- funded state theatre -ended with the arrival of television and the Soweto riots - Urbanisation- greater spending power- led to growth of drama in the townships - township plays of this time focused on township reality
GIBSON KENTE Most popular during the 60 s and 70 s He focussed on narrative, mime, movement, vocal dynamics, music and dance which were found in oral performance MBONGENI NGEMA - was strongly influenced by Kente -musical successes with productions such as Sarafina and Magic at 4am in the 1980 s - -
Growing mood of resistance, increase in oppressed class involvement in theatre Theatre of this time aimed to create a sense of unity amongst Black people, to help them identify with their cause Theme of resistance emerged strongly Increase in indigenous theatre but indifference from government and commercial theater Political expression was met with censorship and banning - - - - -
1976 broadcast television started- had huge impact on theatre and cinema 1977 government lifted the ban on multi-racial theatre companies and abolished segregation in theatre 1980 saw the creation of Simon Ngema and Percy Mtwa of Woza Albert Dynamic and physical theatre style influenced by Grotowski- captured expression of poverty and oppression Pieter Dirk Uys was a popular satirist during this time. He challenged the state policies using humour. Generally his shows were not scripted, which made it difficult for the security police to close them down - - - - -
Workshop Theatre Protest Theatre Workers Theatre Community Theatre Educational Theatre Satirical Revue 1. 2. 3. 4. 5. 6.
