Tshepang

Question 1

Socially committed theatre

Answer 1

• draws on real, harrowing social issues

- transforms these issues into performance

Question 2

Imaginative realism

Answer 2

• rich in meaning and sub-texts
• symbiosis of simplicity and symbolism
• brutal topic handled sensitively and poetically

Question 3

Imaginarration

Answer 3

• images drive and enhance the narration

Question 4

Symbolism

Answer 4

• multi-textured meanings
• sunglasses
• bread
• broom
• houses
• salt
• beds (a symbol of the ongoing cycle of violence)

Question 5

poor theatre

Answer 5

• suggestively minimal set
• props are multi-use
• re-enactment

Question 6

Grotowsky

Answer 6

• actor is ‘holy’
• 4th wall is broken
• mime
• audience plays ‘roles’

Question 7

realism

Answer 7

• wine
• bread
• gut
• carvings
• largest bed
• broom

Question 8

neo realism

Answer 8

• salt
• carvings
• bread

Question 9

African storytelling

Answer 9

• informal storytelling as interactive oral performance

Question 10

greek theatre

Answer 10

• narrator
• repeated chorus
• fate
• ‘tragic’

Question 11

brecht

Answer 11

• mechanisms of theatre making
• engaging audience
• reminds to think

Question 12

peter shaffer

Answer 12

• relationships

- heinous act

Question 13

POMO

Answer 13

• the blame game

- deconstruction of landscape, houses, beds

Question 14

absurdism

Answer 14

• existential situation
• country road
• two ostracised characters wait

Question 15

Stanislavsky

Answer 15

• based on real experience / actors’ own relities

Question 16

brook

Answer 16

• understanding theatrical reality

- participants in any theatrical event (actors, directors, spectators)

Question 17

socio-politcal issues

Answer 17

• post apartheid
• Rape
• poverty
• substance abuse
• desolate societies

Question 18

influences

Answer 18

• waiting for godot

Question 19

addressing the legacy of apartheid

Answer 19

• disadvantaged rural communities
• inhumane conditions
• no options for bettering their lives (employment)
• barren wasteland of heat
• no purpose in life

Question 20

Showing the breakdown of traditional gender relations

Answer 20

• sex as commodity

- empowerment of women

Question 21

Analysing the profile of South African male abusers

Answer 21

• boys raised in dire poverty

- witnessed violence against children or been abused themselves

Question 22

“people forget very easily these days”

Answer 22

• play serves as a committed act of remembrance

Question 23

“shame on you, shame on all of us!”

Answer 23

• conscientising drama

- have to take responsibility for what happens in our society

Question 24

“nothing ever happens here. Nothing niks”

boredom

Answer 24

• existential barrenness
• alcohol
• “wake, wipe, eat, drink, naai, sleep!”

Question 25

External landscape mirrored by internal hell

Answer 25

- minds numbed by abuse, tragedy | - minds have lost their capacity for concern and empathy

Question 26

Sex sought as a relief from pain

Answer 26

- Sarah being disconnected to a very meaningful action (pimped by her brother) - Sarah, loaf of bread (being the infant) all degraded to inhuman sexual receptacles

Question 27

Empowerment / disempowerment

Answer 27

- Alfred sorrow being seen as the abused and worthless | - He grows up and becomes the abuser and 'dominant' (even in raping the child)

Question 28

Media sensationalism

Answer 28

- headlines of rape - disconnection from the horror of the event - town of shame

Question 29

Hope

Answer 29

- baby girl survives | - compassion shown by Simon (he has unconditional love for Ruth)

Question 30

religion

Answer 30

- present through Simon's narrative for baby Tshepang | - female oriented religion shown through baby jesus being a girl (in essense to stop male-satisfaction religion)

Question 31

relevance

Answer 31

- hope through the experience of darkness opening ones' eyes to such brutal, tense and harrowing situations - if you engage in the dark you can enjoy the joy and union

Question 32

simon

Answer 32

- neutral character - pivotal - breaks the 4th wall - not abused (loved) - similar to a homeric epic - messenger reporting events that have happened to other people - hope and civilisation in him (staying by ruth and caring for her) - having experienced everything - passive - observative

Question 33

demands on actor

Answer 33

- realism (breaking 4th wall) - Stanislavsky (based on realities and real occurrences) - Grotowsky (holy actor and 4th wall break) - Brecht (engaging the audience by alienating them) - Poor theatre (minimalism)