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Developing a Potential Youth Festival Model to Aid and Develop the Theatre for Young People Industry in South Africa

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Developing a Potential Youth Festival Model to Aid and Develop the Theatre for Young People Industry in South Africa Developing a Potential Youth Festival Model to Aid and Develop the Theatre for Young People Industry in South Africa Pierre Le Fras Mouton Thesis presented in fulfillment for the degree Masters of Drama and Theatre Studies in the Faculty of Drama at Stellenbosch University Supervisor: Dr. Petrus du Preez December 2014 Stellenbosch University http://scholar.sun.ac.za DECLARATION By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, that I am the owner of the copyright thereof (unless to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification Date: 15 October 2014 Signed: Pierre Le Fras Mouton Copyright © 2014 Stellenbosch University All rights reserved i Stellenbosch University http://scholar.sun.ac.za ABSTRACT This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified. Finally, the study develops a model that can be implemented into the South African environment, and highlights specific challenges and areas that should be developed in order to create a thriving and sustainable Theatre for Young People industry in South Africa. It is evident that South Africa’s support structures differ significantly from those of other countries where Theatre for Young People industries flourish. This has caused Theatre for Young People practitioners to adopt a predominantly didactic approach to producing events for young people. The study found that, in order to create a thriving Theatre for Young People industry, a balance between the educational and entertainment values of Theatre for Young People should be maintained. ii Stellenbosch University http://scholar.sun.ac.za OPSOMMING Hierdie studie het ten doel om die verskynsel van die teatrale gebeurtenisse (theatrical events) en verfeesteliking (festivalisations) wat spesifiek op jong mense gemik is, te ondersoek. Verskeie metodes van teaterale beurtenisse en verfeesteliking word in 'n ontwerpmodel geïntegreer. Die ontwerpmodel bied 'n duidelike en omvattende begrip van die talle prosesse en strukture wat 'n belangrike rol speel in die produksie en ervaring van 'n teatergebeurtenis of fees. Die ontwerpmodel is gebruik om die tendense en praktyke van Teater vir Jongmense op sowel internasionale (spesifiek Australië) as plaaslike vlak te ondersoek en te ontleed. Die ontwerpmodel laat die studie toe om sekere sterkpunte, geleenthede, uitdagings en tekortkominge van die onderskeie bedrywe te belig. Areas van ontwikkeling vir die plaaslike bedryf word geïdentifiseer deur plaaslike tendense en praktyke met dié van die internasionale Teater vir Jongmense-bedryf te vergelyk. Ten slotte; ontwikkel die studie 'n model wat in die Suid-Afrikaanse omgewing geïmplementeer kan word. Die model beklemtoon spesifieke uitdagings en gebiede wat verder ontwikkel moet word om ten einde 'n vooruitstrewende en volhoubare Teater vir Jongmense in Suid-Afrika te skep. Dit is duidelik dat Suid-Afrika se ondersteuningstrukture aansienlik verskil van dié van ander lande met ‘n bloeiende Teater vir Jongmense-bedryf. Die verskil veroorsaak dat Teater vir Jongmense-praktisyns 'n oorwegend didaktiese benadering tot die daarstel van gebeurlikhede vir jong mense volg. Die studie het bevind dat, ten einde 'n vooruitstrewende Teater vir Jongmense- bedryf te produseer 'n balans tussen die opvoedkundige- en vermaaklikheids waardes van Teater vir Jongmense moet gehandhaaf word. iii Stellenbosch University http://scholar.sun.ac.za ACKNOWLEDGEMENTS I would like to express my gratitude to: God for giving me the patience, strength and endurance to complete this project. My mother and father for their steadfast support and unconditional love throughout the study period. Mr. Johann Nel that proof read and edited the thesis. Dr. Petrus du Preez for his dedicated guidance and valued assistance with this study. Ms. Michelle le Roux for believing in me and helping me push through to the end iv Stellenbosch University http://scholar.sun.ac.za Stellenbosch University http://scholar.sun.ac.za TABLE OF CONTENTS Page Number CHAPTER 1: INTRODUCING THE STUDY 1 1.1. INTRODUCTION 1 1.2. PRELIMINARY STUDY 2 1.3. PROBLEM STATEMENT 7 1.4. RESEARCH QUESTIONS AND AIMS OF THE STUDY 8 1.5. RESEARCH METHODOLOGY 9 1.6. DEMARCATION AND STRUCTURE OF THE STUDY 10 1.7. CONCLUSION 11 CHAPTER 2: THE THEATRICAL EVENT 12 2.1 INTRODUCTION 12 2.2 THE THEATRICAL EVENT 15 2.2.1 Theoretical Foundations of the Theatrical Event 17 2.2.2 Conceptualising the Experience of a Single Theatrical Performance 22 2.2 CONCLUSION 32 Stellenbosch University http://scholar.sun.ac.za CHAPTER 3: FESTIVAL and FESTIVALISATION – Creating an Investigative Framework 35 3.1 INTRODUCTION 35 3.2 FROM THEATRICAL EVENTS TO FESTIVALISATION 36 3.3 FRAMING THE DIMENSIONS OF A FESTIVAL’S COMPOSITION WITHIN ITS SOCIETAL CONTEXT 39 3.3.1 Cultural Context 39 3.3.2 Contextual Theatricality 42 The Experience of the Dimensions of a Festival’s Composition within its Societal Context 46 3.3.3 Playing Culture 46 3.3.4 Theatrical Playing 47 3.4 KEY CHARACTERISTICS OF A FESTIVAL 49 3.5 BASIC ANALYTICAL CONCEPTS 56 3.6 IMPLEMENTING THE DEVISED MODEL 59 3.7 CONCLUSION 60 CHAPTER 4: FESTIVALS FOR YOUNG PEOPLE – International Trends and Practices 63 4.1 INTRODUCTION 63 4.2 THE FESTIVAL FORMS EXPLORED 64 Stellenbosch University http://scholar.sun.ac.za 4.2.1 The Community Arts and Major Arts Festival Models 65 4.2.2 Youth Arts Theory 66 4.2.3 The Boutique Festival Model 68 4.3 STAGE X and OUT OF THE BOX - Exemplary Boutique Festivals for Young People 70 4.3.1 The Societal Frame and Cultural Context of the Festival 72 4.3.2 Organisers, Management and the Audience: Conventions and Practices Used to Create a Playing Culture 76 4.3.2.1 The Festival’s Utilisation and Transformation of Space 81 4.3.3 The Communication taking place within the Theatrical Playing Dimension 82 4.3.3.1 Main Events Communicating the Festival’s Philosophy 84 4.3.4 The Evaluation Process 86 4.4 CONCLUSION 86 CHAPTER 5: EVALUATING LOCAL TYP TRENDS AND PRACTICES 89 5.1 INTRODUCTION 89 5.2 CULTURAL CONTEXT AND THE SOCIETAL FRAME OF SOUTH AFRICA’s TYP INDUSTRY 89 Stellenbosch University http://scholar.sun.ac.za 5.2.1 The Transformation of Government Policies and Funding 90 5.3 CURRENT TRENDS AND PRACTICES OF TYP IN SOUTH AFRICA 93 5.3.1 The TYP Industry in South Africa 97 5.3.2 TYP As It Appears Within The Festival Circuit 99 5.4 CONCLUSION 117 CHAPTER 6: A TYP FESTIVAL MODEL FOR THE SOUTH AFRICAN MILIEU 120 6.1 INTRODUCTION 120 6.2 THE SOCIO-POLITICAL, ECONOMIC and CULTURAL CONTEXT of SOUTH AFRICA 122 6.2.1 Government Policy and Public Funding 122 6.2.2 Private funding 124 6.3 MANAGEMENT, the CONCEPTUAL PLANING PROCESSES and ORGANISING the ENVIRONMENT 129 6.3.1 Management Models and a Festival’s Aims and Objectives 129 6.3.2 Market Research and the Position of the Audience 135 6.3.3 Marketing, Publicity and Public Relations – Building a Brand 140 6.3.4 Programming and Budgeting to Stage a Successful Event 148 6.4 IMPLEMETING and EVALUATING the FESTIVAL EXPEREINCE 150 6.4.1 Surveys and Interviews 150 6.5 CONCLUSION 153 Stellenbosch University http://scholar.sun.ac.za CHAPTER 7: CONCLUSION – Deductions, Shortcomings and Recommendations 155 1.2 DEDUCTIONS 155 2.2 SHORTCOMINGS 159 3.2 RECOMMENDATIONS 160 4.2 CONCLUSIVE THOUGHTS 160 REFERENCE LIST 162 Stellenbosch University http://scholar.sun.ac.za LIST of FIGURES Page Number Figure 2.1 Expanded Model of the Theatrical Event 16 Figure 2.2 A Schema for Theatrical Eventness 19 Figure 2.3 A Devised ‘Flower’ Model of Theatrical Events 33 Figure 3.1 A Schema for Festivalisation Processes and Experiences 38 Figure 5.1 The Multitude of Factors Impacting on an Event 115 Stellenbosch University http://scholar.sun.ac.za CHAPTER 1 INTRODUCING THE STUDY 1.1. INTRODUCTION Young and aspiring theatre makers in South Africa inherently face unique political, socio-economic and cultural challenges to create performances. After the 1994 elections South Africa experienced drastic transformations in every area of life, “including arts and culture…, [and] theatre makers [have had] to adapt, as new or altered trends have developed in production, funding, and management systems” (Van Heerden 2008: 8-9). The constant political, socio-economical and cultural shifts over the past two decades have generated a less than ideal situation for practitioners across the board. The theatre industry has “become a totally free-lance area, it’s become a totally self-generating thing, where you have to make work for yourself” (Hauptfleisch in Solfberg 2003: 45). The environment in which theatre practitioners, and especially youth theatre practitioners, have to produce events, poses many challenges which they have to overcome in order to produce an event. In the light of previous research done by South African authors, such as Louis Pretorius (2008), Pieter Venter (2007) and Margot Wood (2005), it is evident that there is a great lack of purely entertaining live performative arts events specially created for the youth market within the Western Cape region.
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