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Narrative and Structural Characteristics of South African One-Person Musicals

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Narrative and Structural Characteristics of South African One-Person Musicals NARRATIVE AND STRUCTURAL CHARACTERISTICS OF SOUTH AFRICAN ONE-PERSON MUSICALS Marli van der Bijl A thesis submitted in fulfilment of the requirements for the degree MAGISTER ARTIUM: DRAMA AND THEATRE ARTS in the Department of Drama and Theatre Arts Faculty of the Humanities University of the Free State Supervisor: Mr D.C. Cloete Co-supervisor: Dr A.M.F. De Villiers February 2018 i NARRATIVE AND STRUCTURAL CHARACTERISTICS OF SOUTH AFRICAN ONE-PERSON MUSICALS DECLARATION I declare that the thesis which is hereby submitted for the qualification Magister Artium (Drama and Theatre Arts) at the University of the Free State, is my own independent work and has not been handed in before for a qualification at/in another University/faculty. The ownership of all intellectual property pertaining to and/or flowing from the thesis (including, without limitation, all copyright in the thesis), shall vest in the University, unless an agreement to the contrary is reached between the University and the student in accordance with such procedures or intellectual property policy as the Council of the University may approve from time to time. Marli van der Bijl Copyright© University of the Free State 2018 i NARRATIVE AND STRUCTURAL CHARACTERISTICS OF SOUTH AFRICAN ONE-PERSON MUSICALS PLAGIARISM CONTRACT I, Marli van der Bijl, with student number 2008012329, hereby acknowledge that I am aware of the Department of Drama and Theatre Arts description and guidelines in respect of plagiarism. I understand what plagiarism involves, and I herewith declare that all written/documented work and material that I submit to my research supervisor, the Departmental Research Committee, and eventually to the external examiner, is my work. Where applicable and required, reference has been made to other authors and sources of ideas. I accept that if I am found guilty of plagiarism, I will take full responsibility for my actions and accept that I will avail myself for any disciplinary hearing and steps to be undertaken by the Department of Drama and Theatre Arts. I also hereby understand that I cannot hold my supervisor/ promoter or the Department of Drama and Theatre Arts liable in any manner or way if I have been found guilty of this misconduct. Signature: Date: 15/02/2018 ii NARRATIVE AND STRUCTURAL CHARACTERISTICS OF SOUTH AFRICAN ONE-PERSON MUSICALS ABSTRACT Marli van der Bijl, Drama and Theatre Arts, University of the Free State Abstract of Master’s Thesis Proposal, Submitted February 2018: NARRATIVE AND STRUCTURAL CHARACTERISTICS OF SOUTH AFRICAN ONE-PERSON MUSICALS The purpose of this study was to create a Combined Framework consisting of narrative and structural characteristics identified in concept musicals, cabaret and one-person dramatic shows to facilitate the case studies of three South African one-person musicals. A better understanding of the narrative and structural characteristics in one-person musicals could contribute to a secondary observation that the one-person musical appears to be an amalgamation of the three informing subgenres. Section A served as an introduction to the study. In Section B, research was conducted on the three subgenres of the concept musical (Chapter 2), cabaret (Chapter 3) and the one- person dramatic show (Chapter 4). The research involved literature studies of the subgenres regarding their historical backgrounds, their affiliation to the revue, which they seemed to resemble in structure, and their association with the modernist techniques utilised by Bertolt Brecht in his Epic Theatre. The background information supplemented further investigations into the narrative and structural characteristics of the three informing subgenres, which was structured around the six elements of drama identified by Aristotle (plot, theme, character, language, music, spectacle). From the literature studies, the Combined Framework was constructed in Chapter 5 to direct the proposed case studies on the selected South African one-person musicals. In Section C, three South African one-person musicals were evaluated for their narrative and structural characteristics using the Combined Framework. They were: Amanda Strydom’s State of the Heart (Chapter 6), Nataniël’s COMBAT (Chapter 7) and Elzabé Zietsman’s Agter Glas (Chapter 8). Section D was devoted to the summary and conclusion of the study. In the literature studies of Section B, it was established that the concept musical, cabaret and one-person dramatic show all indicate a presentational, anti-naturalistic approach to theatre. They aim at intellectual entertainment, engaging in strong socio-political themes iii NARRATIVE AND STRUCTURAL CHARACTERISTICS OF SOUTH AFRICAN ONE-PERSON MUSICALS and challenging their audiences into critically evaluating society. Techniques used in all three subgenres can often be linked to Brecht’s Epic Theatre and the non-linear construction of all three subgenres also show similarities to the structure of the revue. In the case studies of the three South African one-person musicals in Section C, similar narrative and structural characteristics were observed. The one-person musicals seemed to indicate strong similarites to all of the informing subgenres, which leads to the conclusion that the one- person musical appears to be an amalgamation of the concept musical, cabaret and one- person dramatic show. It can be concluded that the Combined Framework demonstrated efficiency in facilitating an evaluation of the narrative and structural characteristics of South African one-person musicals. The three informing subgenres, namely the concept musical, cabaret and the one- person dramatic show, were also deemed suitable for comparison with each other and one- person musicals. Characteristics of all three subgenres manifest in the one-person musicals explored, producing a hybrid musical theatre form. The question is raised whether musical theatre in South Africa should be re-evaluated in terms of nomenclature, specifically with regards to the use of the word cabaret to denote one-person musicals. Further academic conversation in the field is welcomed, and the Combined Framework seems to present the potential to facilitate the evaluations of other one-person musicals or musical and musical theatre productions in the broader spectrum of the arts. KEYWORDS: one-person musicals, concept musicals, cabaret, one-person show, solo theatre, South African musical theatre, Nataniël, Amanda Strydom, Elzabé Zietsman, Bertolt Brecht, revue, modern theatre iv NARRATIVE AND STRUCTURAL CHARACTERISTICS OF SOUTH AFRICAN ONE-PERSON MUSICALS ACKNOWLEDGEMENTS My gratitude goes out to my supervisor, Mr DeBeer Cloete, who blew new life into the study only months before submission. He was always available for consultation, patiently answered all my questions and expanded my mind to other possibilities as the research unfolded. Most of all, he believed in me and my work, and for that I will always be grateful. I would also like to thank my co-supervisor, Dr Frelet de Villiers. She has been there from the start and her expertise in the field of postgraduate studies has definitely made me grow as a researcher and writer. To Dr. Pieter Venter, who was my supervisor when I first enrolled, I express my gratitude for helping me shape the study and organise my thoughts, and supporting me as a mentor and colleague. This study would not have been possible without the generous financial aid of the University of the Free State’s Rector’s Bursary in my first year of studies, and the internship granted me by the National Research Foundation of South Africa during my second year. I express my gratitude to the following theatre practitioners who were willing to answer some questions and broaden my knowledge through personal correspondence: Elzabé Zietsman, Nataniël, Pieter-Dirk Uys, Hennie van Greunen, Gera Phielix, Roland Perold and Ilne Fourie. To my fellow-students in postgraduate studies who shared in the late nights and pressure, you always made me feel a little less alone. On a more personal level, I would not have been able to complete this study without the constant support I received from my friends and family, especially my parents, grandmothers and my soon-to-be husband. Your love and prayers have carried me to the end. On that note, I acknowledge most of all the strength I received from Above, and how I am constantly reminded of how blessed I am to have a healthy mind and body, and to share it with incredible people that I meet along the way. v NARRATIVE AND STRUCTURAL CHARACTERISTICS OF SOUTH AFRICAN ONE-PERSON MUSICALS TABLE OF CONTENTS DECLARATION ....................................................................................................................................... i PLAGIARISM CONTRACT ....................................................................................................................... ii ABSTRACT ............................................................................................................................................. iii ACKNOWLEDGEMENTS......................................................................................................................... v TABLE OF CONTENTS ............................................................................................................................ vi SECTION A: AN INTRODUCTION TO THE STUDY CHAPTER 1: INTRODUCTION ........................................................................................................... 3 1.1. BACKGROUND TO THE STUDY ......................................................................................................
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