CAP UCLA Presents Peter Brook's 'The Suit'
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Film Review: Drum [Univ. of Duisburg-Essen / Filmrezension.De]
Zielinski Zielinski Review of „Drum“ South Africa in Films University of Duisburg-Essen, Dr. Claudia Drawe pubished in cooperation with Düsseldorf 2007 Review of „Drum“ 1 Zielinski Table of contents: 1. Drum: Film review: More than telling Henry`s story 3 2. Film facts 12 3. references 13 Review of „Drum“ 2 Zielinski 1. Film review: Drum More than telling Henry`s story............ Changes The story of the film “Drum” takes place in Sophiatown in the 1950s, in one of the last black territories which seemed to be to some degree protected against the evil and destructive influence of the Apartheid system which dominated South Africa during that time. But appearances are often deceptive. Actually, it is a tough and cruel time, full of black resistance against the white minority, full of struggle and hope as well as of dispair. It is a time of political changes and overthrow with the danger coming closer and closer day by day. It is still underneath the surface, but it is moving upwards, powerful and white. The 1950s are a time of hope in Sophiatown, but also in some respects mixed up with repression, with escaping from reality. Among those people who are caught up in this dubious situation of hoping and repressing, are Henry Nxumalo, the sports journalist and centre of the “Drum”- editorial, his wife Florence, their two children and a lot of Henry`s appreciated friends he works with at the “Drum” magazine. They try to get along and manage everyday life in Sophiatown, always on the path between facing and escaping the bitter truth they are surrounded by. -
South African Writing in English John C
Santa Clara University Scholar Commons English College of Arts & Sciences 4-30-1996 South African Writing in English John C. Hawley Santa Clara Univeristy, [email protected] Follow this and additional works at: http://scholarcommons.scu.edu/engl Part of the English Language and Literature Commons Recommended Citation Hawley, J. C. (1996). South African Writing in English. In R. Mohanram and G. Rajan (Eds.), English Postcoloniality: Literatures from Around the World (pp.53-62). Greenwood Press. English Postcoloniality: Literatures from Around the World by Radhika Mohanram, Gita Rajan. Copyright © 1996 by Radhika Mohanram and Gita Rajan. All rights reserved. Reproduced with permission of ABC-CLIO, LLC, Santa Barbara, CA. This Book Chapter is brought to you for free and open access by the College of Arts & Sciences at Scholar Commons. It has been accepted for inclusion in English by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. South African Writing in English John C. Hawley As commentators such as Lewis Nkosi and Malvern van Wyk Smith have noted, even though writers from South Africa occasionally engage in an exploration of traditional African values (as has preoccupied the writers of many other countries), their truly characteristic impetus is to focus readers' attention on the conflict between white masters and black servitors. As Bernth Lindfors and Reingard Nethersole have shown, South African writers have had a national obsession to describe in committed detail the practical implications of apartheid, and conse quently have produced a literature that is unabashedly didactic. Those who choose to write "metapolitical" fiction are generally attacked as collaborators in injustice. -
Masters Can Themba
1 CHAPTER ONE: INTRODUCTION I found myself a displaced person, caught between and rejected by the two worlds with which I presumed a mental level; it was perhaps this single factor which has contributed to the strong feeling of rejection which is apparent in my reactions, but more constructively it forced upon me the realisation and the acceptance of my condition; I became cynical about my colour and the reaction to it. I directed my energy to my writing, determined to use it as the weapon for gate-crashing into the worlds which rejected me; my writing showed a studied omission of commitment, the histrionics of tight-fisted protest, and in my first published short story, The Dignity of Begging, I created a satirical situation in which I sat back and laughed at the worlds which rejected. [sic] I projected myself into the character of Nathaniel Mokgomare, an educated African capable in any society of earning himself an independent living, but handicapped by being black in a society which has determined that black is the condition of being dependent on white charity, in the same sense that a cripple is dependent for his existence on public charity; but the beggar needs to be horribly deformed to arouse sympathetic patronage, and the African is disqualified by his colour from earning an independent living, hopelessly helpless in his incapacity to overcome the burden of his colour. (Modisane 1986: 88) Had Can Themba not died an untimely death at the age of forty-three, he might have written much the same in an autobiography. -
Symposium Supported by NIHSS Dear Participant Who Was Can Themba?
Symposium supported by NIHSS Dear Participant Who was Can Themba? The Can Themba Symposium is the first of its kind. It celebrates According to Stan Motjuwadi, the House of Truth was “Can’s way Daniel Canodoce Themba (Can Themba) was born on 21 June 1924, in Marabastad, Pretoria. He studied at the University of Fort Hare the life of Daniel Canadoce (Can) Themba—a distinguished South of cocking a snook at snobbery, officialdom and anything that from 1945-1947, graduating his BA degree with a distinction in English. He taught at various schools in Johannesburg and in 1953 he joined African writer, journalist and teacher on the 51st anniversary of his smacked of the formal. Everybody but a snob was welcome at the Drum magazine as a reporter and later became the associate editor. He left Drum in 1959 and in the early 1960s he went into exile in passing. Themba was born in Marabastad, Pretoria, on 21 June 1924, House of Truth.” Swaziland. He was declared a statutory communist by the apartheid government and his works could neither be published nor quoted in and died in Swaziland on 8 September 1967, at just 43years old. South Africa. He died of coronary thrombosis on 8 September 1967. It is against this backdrop that I penned the first Can Themba Although he passed away without a single book under his authorship, bioplay and titled it The House of Truth, thus revealing a new way of his works have outlived him and he remains one of the most perceiving his complex world from the inside. -
Mary Benson's at the Still Point and the South African Political Trial
Safundi The Journal of South African and American Studies ISSN: 1753-3171 (Print) 1543-1304 (Online) Journal homepage: https://www.tandfonline.com/loi/rsaf20 Stenographic fictions: Mary Benson’s At the Still Point and the South African political trial Louise Bethlehem To cite this article: Louise Bethlehem (2019) Stenographic fictions: Mary Benson’s AttheStillPoint and the South African political trial, Safundi, 20:2, 193-212, DOI: 10.1080/17533171.2019.1576963 To link to this article: https://doi.org/10.1080/17533171.2019.1576963 © 2019 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 08 May 2019. Submit your article to this journal Article views: 38 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rsaf20 SAFUNDI: THE JOURNAL OF SOUTH AFRICAN AND AMERICAN STUDIES 2019, VOL. 20, NO. 2, 193–212 https://doi.org/10.1080/17533171.2019.1576963 Stenographic fictions: Mary Benson’s At the Still Point and the South African political trial Louise Bethlehem Principal Investigator, European Research Council Project APARTHEID-STOPS, The Hebrew University of Jerusalem, Jerusalem, Israel ABSTRACT KEYWORDS From the mid-1960s onward, compilations of the speeches and trial South African political trials; addresses of South African opponents of apartheid focused atten- Mary Benson; the Holocaust; tion on the apartheid regime despite intensified repression in the Eichmann trial; wake of the Rivonia Trial. Mary Benson’s novel, At the Still Point, multidirectional memory transposes the political trial into fiction. Its “stenographic” codes of representation open Benson’s text to what Paul Gready, following Foucault, has analyzed as the state’s “power of writing”: one that entangles the political trialist in a coercive intertextual negotiation with the legal apparatus of the apartheid regime. -
Announces 2013 Winter/Spring Season—Featuring 12 Theater, Dance, Music, and Opera Engagements—From Jan 17 to Jun 9
Brooklyn Academy of Music (BAM) announces 2013 Winter/Spring Season—featuring 12 theater, dance, music, and opera engagements—from Jan 17 to Jun 9 BAM 2013 Winter/Spring Season is sponsored by Bloomberg Theater productions: The Suit in its US premiere. Direction, adaptation, and music by Peter Brook, Marie-Hélène Estienne, and Franck Krawczyk—based on The Suit, by Can Themba, Mothobi Mutloatse, and Barney Simon. Jan 17—Feb 2……………………………………………………..page 3 The Laramie Cycle, a repertory engagement from Tectonic Theater Project including The Laramie Project and The Laramie Project: Ten Years Later, directed by Moisés Kaufman and Leigh Fondakowski. Feb 12—24…………………page 6 The Royal Shakespeare Company production of Shakespeare’s Julius Caesar, directed by Gregory Doran in its US premiere. Apr 10—28………………………………………………………….page 10 The Master Builder by Henrik Ibsen, directed by Andrei Belgrader and featuring John Turturro. World premiere, produced by BAM. May 12—Jun 9…………………………………..………………….page 15 Dance engagements: Trisha Brown Dance Company in a repertory program featuring two NY premieres: Les Yeux et l’âme and I’m going to toss my arms–if you catch them they’re yours. Jan 30—Feb 2…………………………………………….……….page 5 1 The Royal Ballet of Cambodia with The Legend of Apsara Mera. Choreography by Her Royal Highness Princess Norodom Buppha Devi in collaboration with Proeung Chhieng and Soth Somaly. Presented as part of citywide Season of Cambodia festival. May 2—4…………………….…..…………….page 14 DanceAfrica 2013 returns for its 36th year under the artistic direction of Chuck Davis. Performers include Umkhathi Theatre Works (Zimbabwe), BAM/Restoration DanceAfrica Ensemble, and others. -
Guide to The
GUIDE TO THE NADINE GORDIMER PAPERS IN THE LILLY LIBRARY Indiana University Bloomington, Indiana 1994 rev. 2001, 2003 TABLE OF CONTENTS page I. Correspondence. 7 II. Writings . 7 III. Diaries and Notebooks . 40 IV. Miscellaneous. 41 V. Additions . 42 Index to Titles. 44 Nadine Gordimer was born in Springs, South Africa in 1923. At age 11 she began her writing career and was first published in the children's section of the Johannesburg Sunday Express in 1947. Since then she has written a number of novels. Excerpts of these, in addition to her countless short stories and articles, have appeared in magazines and newspapers worldwide. Many of her works reflect the political and social dilemmas of living under apartheid in South Africa and consequently, several of her books were banned in that country. Among her numerous awards are the Booker Prize for Fiction (1974), Modern Language Association of America award (1982), and the Premio Malaparte prize (1987). In 1991 Gordimer's entire body of work was honored with the Nobel Prize in Literature. She was a four-time winner of the CNA Award sponsored by the Central News Agency, a book/stationery company in South Africa. She has been decorated Commandeur de l'Ordre des Arts et des Lettres (France) and has received honorary degrees from such institutions as Harvard and Yale universities. Apart from her many achievements in writing, Gordimer has been visiting professor and lecturer at several American universities. She is a founder and executive member of the Congress of South African Writers and has encouraged and supported new writers, especially young African authors and poets. -
Echoes of an African Drum: the Lost Literary Journalism of 1950S South Africa
DRUM 7 Writer/philosopher Can Themba, 1952. Photo by Jürgen Schadeberg, www.jurgenshadeberg.com. Themba studied at Fort Hare University and then moved to the Johannesburg suburb of Sophiatown. He joined the staff of Drum magazine after winning a short-story competition and quickly became the most admired of all Drum writers. 8 Literary Journalism Studies, Vol. 8, No. 1, Spring 2016 The Drum office, 1954. Photo by Jürgen Schadeberg, www.jurgenshadeberg.com. The overcrowded Johannesburg office housed most of Drum’s journalists and photographers. Schadeberg took the picture while Anthony Sampson directed it, showing (from left to right) Henry Nxumalo, Casey Motsitsi, Ezekiel Mphalele, Can Themba, Jerry Ntsipe, Arthur Maimane (wearing hat, drooping cigerette), Kenneth Mtetwa (on floor), Victor Xashimba, Dan Chocho (with hat), Benson Dyanti (with stick) and Robert Gosani (right with camera). Todd Matshikiza was away. 9 Echoes of an African Drum: The Lost Literary Journalism of 1950s South Africa Lesley Cowling University of the Witwatersrand, South Africa (or Johannesburg) Abstract: In post-apartheid South Africa, the 1950s era has been romanti- cized through posters, photographs, a feature film, and television commer- cials. Much of the visual iconography and the stories come from the pages of Drum, a black readership magazine that became the largest circulation publication in South Africa, and reached readers in many other parts of the continent. Despite the visibility of the magazine as a cultural icon and an extensive scholarly literature on Drum of the 1950s, the lively journalism of the magazine’s writers is unfamiliar to most South Africans. Writers rather than journalists, the early Drum generation employed writing strategies and literary tactics that drew from popular fiction rather than from reporterly or literary essay styles. -
A Renoster, a Foundation and a Market: the Cultural Import of Three
A Renoster, a Foundation and a Market: the cultural import of three Johannesburg figures between 1960 - 1990 Johannesburg, that city which purportedly rose from the veld, was about one hundred years old when it was fortunate, in the midst of the intensities of major capital development at the height of apartheid’s imposition and the fierce revolt against that, to have in its midst numbers of extraordinarily creative people in the fields of photography, music, the plastic arts, literature and the theatre. Of these, particular attention is given here to three: Lionel Abrahams, Bill Ainslie and Barney Simon. These figures are not offered here as emblematic or representative of the wide surge among cultural practitioners whose stance at that time was at profound odds with Michael Gardiner the disintegrative forces of apartheid and capitalism. But despite being male, white has retired from a varied and middle-class, the three asserted, for those who wished to participate in the career in education to arts, alternatives to the dominant bourgeois and nationalistic cultural values that explore his interest in the characterised the formal activities in the city of Johannesburg. arts by writing a book about the contributions Because major political and other movements that were opposed to state policies of Lionel Abrahams, Bill had been prohibited, the churches and cultural formations carried the burden of Ainslie and Barney Simon articulating the dreams, hopes and fears of the broad mass of South Africans from to the cultural life of early 1960s onwards. The fusion, therefore, between the arts in general and the Johannesburg between political was inevitable and should be understood in that light. -
Acclaimed Director Peter Brook Talks About the Suit, Playing This Week at OZ
May 22, 2014 By Martin Brady Acclaimed director Peter Brook talks about The Suit, playing this week at OZ Billed as "a destination for innovative contemporary art experiences," OZ Nashville has not disappointed in its inaugural season. The alternative venue — a renovated cigar warehouse — offers high-style ambience and hosts performances and installations across all artistic disciplines. OZ's first presentation for the garden-variety theatergoer, The Suit, debuts this week, though there's very little that's ordinary about the piece, which is concluding an ambitious two-year international tour in Music City. The Suit has been acclaimed across the globe, and has received raves from critics in New York, San Francisco and Los Angeles. Based on the late South African writer Can Themba's powerful novella, the play centers on Philomen, a middle-class black lawyer in apartheid-era South Africa who catches his wife, Matilda, having an affair. In haste, her lover leaves behind his clothes, and as her punishment, Philemon makes Matilda treat her lover's suit as an honored houseguest, even to the point of including it at the dinner table or taking it out for walks. Making this singular event even more noteworthy, it's under the direction of Peter Brook, a world giant of theatrical innovation. "First of all, in the thousands of plays and novels about marital betrayal, you'll find something amazing, but The Suit presents a new situation that happens with a different combination of ingredients," says Brook, speaking by phone from Paris, where he creates for the stage under the aegis of his company, Thèâtre des Bouffes du Nord. -
Iinterview with Barney Simon
Ruth First Papers project IInterview with Barney Simon An interview conducted by Don Pinnock circa 1990. Part of a series carried out at Grahamstown University and held at the UWC/Robben Island Mayibuye Archive. Republished in 2012 by the Ruth First Papers Project www.ruthfirstpapers.org.uk 1 BS: you know, if you're chosen, nobody can say that you're chosen before. DP: What do you mean by that? BS: Being chosen? Being - I don't know, it's ... being chosen - if one thinks euphemistically, which I don't - being chosen for a special destiny is a fact. There's no way of guaranteeing that your destiny - that you'll end in dignified old age. She was chosen, and it was incredible ... it's something strange, it's - well, just the fact that she died in the way that she did. As absurdly as she did, because it just wasn't necessary. A friend of mine, [sounds like Maurice Hattingh] was there [indistinct], who indicated that before Nkomati - he spoke to a number of [indistinct] who said what a tragic mistake that was. Policy decision. He wasn't from the top, you know; it was some petty assassination - Some local guy who thought he'd do good and get promotion. DP: Did she write for Classic? BS: No. At the time I was editing Classic she was banned. DP: You said you saw her struggling to become a – BS: Well, what I'm saying is that - first of all, when she came out, which was very wonderful, and she spoke about the 90 days to me, then I kind of said - I suggested that she try to write. -
Black South African Literature from the 'Sophiatown Renaissance' to 'Black
Untitled Document [Although this essay was presented as a lecture at the Center for Black Studies at the University of California at Santa Barbara on April 30, 1990, it was really a product of my West Berlin stay from 1985 to 1989. Henry Nxumalo was the founding member of Drum magazine. He seems to have been intellectually closer to H. I. E. Dhlomo and Peter Abrahams (according to the latter's Return to Egoli [1953]) than to Bloke Modisane and Lewis Nkosi (writers of the literary generation in which he is usually placed). He was a historical figure of historical connections and transitions. The following essay of historical connections exemplifies this particular spirit of Henry Nxumalo.] Black South African literature from the ‘Sophiatown Renaissance' to ‘Black Mamba Rising': Transformations and Variations from the 1950s to the 1980s. by Ntongela Masilela The task of historical hermeneutics is to make alien material comprehensible, i.e. material that is remote in time or in social or ethnic origin. In so doing, we do not deny its extrinsic or intrinsic distance from us, but instead make this distance part of the present as opposed to viewing it from a detached historical standpoint. In other words, an aesthetic presence based on such historical insight embraces rather than bypasses an awareness of this otherness or alienness. -Carl Dahlhaus, "Is history on the decline?," in the Foundations of music history. In its broad outline it is this: up to now our fiction has been a fiction of witness - doing a useful job in bearing witness to the immense suffering of our people and the sacrifices they have been and are continuing to make in resisting this oppression, but the nature of our crisis as black writers is where to go from here.