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d - drama > Tshepang > Flashcards

Tshepang Flashcards

1
Q

Socially committed theatre

A
  • draws on real, harrowing social issues

- transforms these issues into performance

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2
Q

Imaginative realism

A
  • rich in meaning and sub-texts
  • symbiosis of simplicity and symbolism
  • brutal topic handled sensitively and poetically
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3
Q

Imaginarration

A
  • images drive and enhance the narration
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4
Q

Symbolism

A
  • multi-textured meanings
  • sunglasses
  • bread
  • broom
  • houses
  • salt
  • beds (a symbol of the ongoing cycle of violence)
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5
Q

poor theatre

A
  • suggestively minimal set
  • props are multi-use
  • re-enactment
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6
Q

Grotowsky

A
  • actor is ‘holy’
  • 4th wall is broken
  • mime
  • audience plays ‘roles’
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7
Q

realism

A
  • wine
  • bread
  • gut
  • carvings
  • largest bed
  • broom
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8
Q

neo realism

A
  • salt
  • carvings
  • bread
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9
Q

African storytelling

A
  • informal storytelling as interactive oral performance
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10
Q

greek theatre

A
  • narrator
  • repeated chorus
  • fate
  • ‘tragic’
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11
Q

brecht

A
  • mechanisms of theatre making
  • engaging audience
  • reminds to think
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12
Q

peter shaffer

A
  • relationships

- heinous act

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13
Q

POMO

A
  • the blame game

- deconstruction of landscape, houses, beds

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14
Q

absurdism

A
  • existential situation
  • country road
  • two ostracised characters wait
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15
Q

Stanislavsky

A
  • based on real experience / actors’ own relities
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16
Q

brook

A
  • understanding theatrical reality

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

17
Q

socio-politcal issues

A
  • post apartheid
  • Rape
  • poverty
  • substance abuse
  • desolate societies
18
Q

influences

A
  • waiting for godot
19
Q

addressing the legacy of apartheid

A
  • disadvantaged rural communities
  • inhumane conditions
  • no options for bettering their lives (employment)
  • barren wasteland of heat
  • no purpose in life
20
Q

Showing the breakdown of traditional gender relations

A
  • sex as commodity

- empowerment of women

21
Q

Analysing the profile of South African male abusers

A
  • boys raised in dire poverty

- witnessed violence against children or been abused themselves

22
Q

“people forget very easily these days”

A
  • play serves as a committed act of remembrance
23
Q

“shame on you, shame on all of us!”

A
  • conscientising drama

- have to take responsibility for what happens in our society

24
Q

“nothing ever happens here. Nothing niks”

boredom

A
  • existential barrenness
  • alcohol
  • “wake, wipe, eat, drink, naai, sleep!”
25
Q

External landscape mirrored by internal hell

A
  • minds numbed by abuse, tragedy

- minds have lost their capacity for concern and empathy

26
Q

Sex sought as a relief from pain

A
  • 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
27
Q

Empowerment / disempowerment

A
  • Alfred sorrow being seen as the abused and worthless

- He grows up and becomes the abuser and ‘dominant’ (even in raping the child)

28
Q

Media sensationalism

A
  • headlines of rape
  • disconnection from the horror of the event
  • town of shame
29
Q

Hope

A
  • baby girl survives

- compassion shown by Simon (he has unconditional love for Ruth)

30
Q

religion

A
  • 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)

31
Q

relevance

A
  • 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
32
Q

simon

A
  • 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
33
Q

demands on actor

A
  • 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)

d - drama (22 decks)

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