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South African Puppetry for the Theatre Since 1975

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South African Puppetry for the Theatre Since 1975 SOUTH AFRICAN PUPPETRY FOR THE THEATRE SINCE 1975 by ZUANDA BADENHORST Submitted in partial fulfilment of the requirements for the degree MAGISTER TECHNOLOGIAE: PERFORMING ARTS TECHNOLOGY In the Department of Entertainment Technology FACULTY OF THE ARTS TSHWANE UNIVERSITY OF TECHNOLOGY Supervisor: Dr Bett Pacey Co-supervisor: J J F Visagie November 2005 ‘I hereby declare that the dissertation submitted for the degree M Tech: Performing Arts Technology, at Tshwane University of Technology, is my own original work and has not previously been submitted to any other University or Technikon; all quotes are indicated and acknowledged in a comprehensive list or references’. Zuanda Badenhorst Copyright©Tshwane University of Technology 2005 ii ABSTRACT Puppetry as an art form has existed in this country since the 1800s. It has been particularly over the last thirty years that the genre has come to the fore, not only as a form of entertainment, but also as an educational tool. The introduction of television in South Africa in 1975 opened up a new avenue for puppeteers. Puppetry for television has however been excluded from this study as its vast scope makes it a subject for a separate research project. The objectives were to establish a database of puppeteers and puppet companies; to make the results of the research available on a website to be managed and updated by UNIMA, South Africa; to organize an exhibition of puppets by as many professional puppeteers as possible; and to publish a booklet entitled ’The puppet book’. The methodology used covered an account of puppetry and puppeteers in alphabetical and chronological order. An empirical research method was followed. This involved participatory research through interviews, as well as attendance at and observations of performances and exhibitions. The texts consulted for research included newspaper articles and reviews, newsletters and magazine articles from various archives, scrapbooks kept by puppeteers, correspondence with puppeteers and programmes of productions and performances. iii Information on the background and performances or forty-one individual puppeteers, thirty-nine companies and four tertiary institutions was gathered. Of the individual puppeteers, twenty-nine are still functioning, albeit not all on a full-time basis. iv ACKNOWLEDGMENTS I would like to express my thanks and gratitude to: • The South African puppeteers who responded to the pleas for information and without whose work, dedication and commitment to this art form, this research would not have been possible. • My supervisor, Dr Bett Pacey for her guidance and patience. • My co-supervisor, Hansie Visagie for his encouragement and advice on puppetry. • The Tshwane University of Technology for their financial support. • My colleagues in the Department of Entertainment Technology, for their interest and moral support. • Waldemar Bussiahn and Anre Fourie, for technical assistance. • Dr Jan Nel and Peggy Ahrens for proofreading. • UNIMA, South Africa, for their assistance and the use of their archives. • ABSA bank, for sponsoring the national puppet exhibition from 7- 27 October 2003 and publishing ‘The puppet book’. • My sisters Cecile Loedolff and Heléne Kempen for their love, assistance and support. • My parents, Piet and Lierieka Badenhorst, who encouraged me to use my imagination and to explore my creativity. v CONTENTS PAGE ABSTRACT iii ACKNOWLEDGEMENTS v LIST OF FIGURES xiv GLOSSARY XXIV CHAPTER 1 1.1 INTRODUCTION 1 1.2 ACTUALITY OF STUDY 4 1.3 AIM AND OBJECTIVES 5 1.4 FIELD OF RESEARCH 5 1.4.1 Scope of Study 5 1.4.2 Demarcation 6 1.4.3 Terminology 7 1.5 RESEARCH PROCEDURE 7 1.5.1.1 Non- empirical (normative) data sources 8 1.5.1.2 Empirical (Reactive) 8 1.6 RESEARCH PROBLEMS 9 1.7 CHAPTERS 9 1.8 SUBMISSION 10 1.8.1 Technical care 10 1.8.2 Stylistic explanation 10 1.8.3 References 11 1.8.3.1 Bibliography 11 1.8. 3.2 Personal observations 11 CHAPTER 2 2 PUPPETEERS AND PUPPET COMPANIES – AN 12 ALPHABETHICAL DOCUMENTATION 2.1 ANDERSON, KEITH (also refer to CAPAB) 12 2.1.1 Background 12 2.1.2 Productions and Performances 16 vi 2.2 AREPP (THE AFRICAN RESEARCH AND 22 EUCATIONAL PUPPETRY PROGRAMME EDUCATIONALTRUST(1987 – 2002) arepp: Theatre for Life (2003 - ) [Generally referred to as arepp]. 2.2.1 Background 22 2.2.2 Productions and performances 28 2.3 AUERBACH, MARGARET 39 2.3.1 Background 39 2.3.2 Productions and Performances 46 2.4 BAILES, ANN (also refer to JOHANNESBURG CIVIC 56 THEATRE: MARIONETTE COMPANY and The LITTLE MARIONETTE COMPANY) 2.4.1 Background 56 2.4.2 Productions and Performances 59 2.5 BARNSTORMERS (refer to FLETCHER, TONY AND 59 JILL) 2.6 BRYER, ESTELLE (refer to RAINBOW PUPPET 59 THEATRE) 2.6.1 Background 59 2.6.2 Productions and Performances 61 2.7 CAPAB (Cape Performing Arts Board) 65 2.7.1 Background 65 2.7.2 Productions and performances 66 2.8 THE CAPE PUPPET PLAYERS (REFER TO FLETCHER, 76 TONY AND JILL) 2.9 THE CHILDREN’S PUPPET PLAY (ALSO REFER TO 76 HECHTER, I AND HERBST I) 2.9.1 Background 76 2.9.2 Productions and Performances 77 2.10 DE GROOTE, LIZ (refer to LILLIPUT MARIONETTE 82 THEATRE) 2.10.1 Background 82 2.10.2 Productions and performances 82 2.11 DE WAAL, ERIK 83 2.11.1 Background 83 2.11.2 Productions and Performances 83 2.12 DE WET, GAWIE (DE WET PUPPETS) 86 2.12.1 Background 86 2.12.2 Productions and Performances 88 2.13 DE WET PUPPETS (refer to DE WET, GAWIE) 90 2.14 DODDERS, CATHY (refer to The PUPPET PEOPLE) 90 vii 2.15 DOMMISSE, JAQUELINE (also refer to The PUPPET 91 PEOPLE) 2.15.1 Background 91 2.15.2 Productions and Performances 93 2.16 DONALD, JANNI 97 2.16.1 Background 97 2.16.2 Productions and Performances 99 2.17 DOVE, MIKE AND MARGE (SUNSHINE KIDS 104 PUPPETRY MINISTRY: 1977-2001. JOY COMPANY BLACKLIGHT PRODUCTIONS:2002-2004) 2.17.1 Background 104 2.17.2 Production and Performances (refer to SUNSHINE KID 105 PUPPETRY MINISTRY) 2.18 DREYER, THARRIE (refer to ZIETSMAN, THARRIE) 105 2.19 ERASMUS, MIRIAM 106 2.19.1 Background 106 2.19.2 Productions and Performances 108 2.20 FLETCHER, TONY AND JILL (Variously known as The 111 CAPE PUPPET PLAYERS, The TONY FLETCHER GLOVE PUPPET COMPANY, FLETCHER’S PUPPETS, FLETCHER’S MARIONETTES, The BARNSTORMERS) (also refer to CAPAB) 2.20.1 Background 111 2.20.2 Productions and performance 114 2.21 FLETCHER’S PUPPETS (refer to FLETCHER, TONY 120 AND JILL) 2.22 FLETCHER’S MARIONETTES (refer to FLETCHER, 120 TONY AND JILL) 2.23 FRIEDMAN, GARY (also refer to AREPP, ROYAL 120 PUPPET COMPANY) 2.23.1 Background 120 2.23.2 Productions and Performances 122 2.24 GARY FRIEDMAN PRODUCTIONS (refer to 141 FRIEDMAN, GARY) 2.25 GODBOLD, ANDREW (refer to The PLAYHOUSE 141 PUPPET COMPANY and PUPPETREE COMPANY) 2.25.1 Background 141 2.25.2 Productions and Performances 142 2.26 HANDSPRING PUPPET COMPANY 142 2.26.1 Background 142 2.26.2 Productions and performances 144 2.27 HECHTER, ILSE (also refer to The CHILDREN’S 177 PUPPET PLAY) 2.27.1 Background 177 viii 2.27.2 Productions and Performances 177 2.28 HERBST, INGARD (also refer to The CHILDREN’S 178 PUPPET PLAY) 2.28.1 Background 178 2.28.2 Productions and Performances 178 2.29 HERZBERG, LILLY (also refer to PUPPET SPACE) 179 2.29.1 Background 179 2.29.2 Productions and Performances 181 2.30 JOHANNESBURG CIVIC THEATRE: MARIONETTE 182 COMPANY 2.30.1 Background 182 2.30.2 Productions and Performances 188 2.31 JOHANNESBURG PUPPET COMPANY (also refer to 194 SNYMAN, A and VON MALTITZ, A) 2.31. 1 Background 194 2.31.2 Productions and performances 195 2.32 JONES, BASIL (also refer to HANDSPRING PUPPET 198 COMPANY) 2.32.1 Background 198 2.32.2 Productions and perfomances 198 2.33 JOUBERT, JILL (also refer to HANDSPRING PUPPET 199 OMPANY) 2.33.1 Background 199 2.33.2 Productions and Performances 201 2.34 JOY COMPANY BLACKLIGHT PRODUCTIONS (refer to 211 DOVE, MIKE and MARGE) 2.35 KAMPHER, EDWARD 211 2 .35.1 Background 211 2.35.2 Productions and Performances 212 2.36 KEITH ANDERSON’S PUPPETS (refer to ANDERSON, 214 KEITH) 2.37 KING, GREG (also refer to The PLAYHOUSE PUPPET 214 COMPANY) 2.37.1 Background 214 2.37.2 Productions and Performances 215 2.38 KLEINVOLK MARIONETTE (refer to STAPELBERG, 215 HILETTE and JOHAN) 2.39 KOHLER, ADRIAN (also refer to HANDSPRING 215 PUPPET COMPANY and PUPPET SPACE) 2.39.1 Background 215 2.39.2 Productions and Performances 216 2.40 KRUGER, MARIE (also refer to UNIVERSITY OF 217 STELLENBOSCH) ix 2.40.1 Background 217 2.40.2 Productions and Performances 218 2.41 KRUYSWIJK, REINETTE (also refer to The LITTLE 222 MARIONETTE COMPANY) 2.41.1 Background 222 2.41.2 Productions and performances 224 2.42 LILLIPUT MARIONETTE THEATRE (also refer to DE 226 GROOTE, LIZ) 2.42.1 Background 226 2.42.2 Productions and Performances 226 2.43 The LITTLE MARIONETTE COMPANY 228 (also refer to HANSIE VISAGIE) 2.43.1 Background 228 2.43.2 Productions and performances 230 2.44 MALTITZ, MARIONETTES (refer to VON MALTITZ, 253 AliDA) 2.44.1 Background 253 2.44.2 Productions and performances 253 2.45 MATIE POPPEKAS (refer to UNIVERSITY of 254 STELLENBOSCH and KRUGER, MARIE) 2.46 MAVANI PUPPETS (refer to VAN NIEUWKERK, 254 MACHTELD) 2.47 NAPAC [Natal Performing Arts Council] (also refer to 254 The PLAYHOUSE PUPPET COMPANY) 2.47.1 Background 254 2.47.2 Productions and performances 254 2.48 Die NASIONALE POPPETEATER VAN SUID 255 AFRIKA/The SOUTH AFRICAN PUPPET COMPANY (refer to ANDERSON, KEITH) 2.49 PACOFS [Performing Arts Council of the Orange Free 255 State] 2.49.1 Background 255 2.49.2 Productions and Performances 256 2.50 PACT [Performing Arts Council of Transvaal] 262 2.50.1 Background 262 2.50.2 Productions and Performances 263 2.51 PETRUS PRODUKSIES (also refer to SWANEFELDER, 263 JOHAN) 2.51.1 Background 263 2.51.2 Productions and Performances 264 2.52 PIETERS, DULINDA (also refer to The SUNNYSHOW/ 268 Die SONNEKAS PUPPET THEATRE) 2.52.1 Background 268 x 2.52.2 Productions and Performances 268 2.53 The PLAYHOUSE PUPPET COMPANY 269 2.53.1 Background 269 2.53.2 Productions and performances 269 2.54 The PUPPET PEOPLE (also refer to DOMMISSE,J) 282 2.54.1 Background 282 2.54.
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